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ELVIS PRESLEY

rONY PERKINS
DON MURRAY

who-why-what they are

How JUDY GARLAND
Went Broke on
No, OOO a Year

rAB HUNTER: Hollywood’s
Biggest Headache

That Ivory 'Look

so clear. . . so fresh.. . . so easily yours

A baby’s loveliest gift is That Ivory Look — a look you, too, can have
through the magic of Ivory’s mildness. You see, the milder your soap,
the prettier your complexion. That’s why regular care with pure, mild
Ivory leaves your skin so clear — fresh — endearingly lovely. It’s such
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it floats

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More doctors advise Ivory than

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Are you ever

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PHOTOPLAY

FAVORITE OF AMERICA'S MOVIEGOERS FOR OVER FORTY YEARS

JANUARY, 1957

VOL. 51. NO. 1

ANN HIGGINBOTHAM, Editorial Director ISABEL MOORE, Editor

NORMAN SIEGEL. R est Coast Editor

ellen Taussig, Managing Editor
jules saltman. Associate Editor
ron taylor. Art Director
JANET graves. Contributing Editor

heraiine cantor, Fashion Editor
HELEN LI mre. Assistant I Vest Coast Editor
harry matetsky. Assistant Art Director
Roger marshutz. Staff Photographer

maxine Arnold, ruth WATERBURY, Contributing West Coast Editors

SPECIAL BOOK CONDENSATION

Crack-Up (Judy Garland) Joe Hyams 38

ARTICLES AND SPECIAL FEATURES

Photoplay Gold Medal Awards Ballot for 1956-57 12

First Christmas Together (Russ Tamhlyn and Venetia Stevenson) 15

Who Will Be Elizabeth Taylor's Next Husband ? Aline Mosby 17

Good Boy (Don Murray) Edwin Hanson 20

Little Boy (Tony Perkins) Laura Lane 22

Lover Boy (Elvis Presley) Earl Wilson 24

My Daughter Joan (Joan Collins) Mrs. Elsa Collins 26

Religion in Hollywood Don Allen 28

The Whole World Over Glenn Ford 32

Watch Out for Dors (Diana Dors) Patty de Roulf 34

Why Tab Hunter Has Become Hollywood's Biggest Headache John Maynard 36

The Rebel and the Lady (Carroll Baker) Gladys Hall 42

NEWS AND REVIEWS

Let’s Go to the Movies . . Janet Graves

Cal York’s Inside Stuff

Glamour Gab .... Ruth Waterbary

SPECIAL DEPARTMENTS

Over the Editor’s Shoulder . . .

Hollywood for You . . Sidney Skolsky 56

Casts of Current Pictures 67

Brief Reviews 75

Readers Inc.

LIVING WITH YOUNG IDEAS

Spring Fashion Forecast:

Fair and Sunny 46

Heritage of Love

(James MacArthur) . Evelyn Carson 50
What’s Spinning? .... Chris Daggett 52

If Your Heart Belongs to Elvis .... 53

Photoplay Patterns 54

Needle News 55

Becoming Attractions 58

STARS IN FULL COLOR

Don Murray 20

Tony Perkins

Elvis Presley 24

Joan Collins 26

Dorothy Malone .... 29

Diana Dors 35

cover: Color portrait of Elizabeth Taylor by Mead-Maddick from Topix. Liz is starred in “Giant”

and in “Raintree County.”

Your February issue will be on sale at your newsstand on January 3

PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications, Inc., New York, N. Y. EAECUTIV E,
ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street, New York 17, N. Y. Editorial branch
office. 321 South Beverly Drive, Beverly Hills, Calif. Irving S. Manheimer, President; Lee Andrews
Vice-President; Meyer Dworkin, Secretary and Treasurer. Advertising offices also in Chicago and San
Francisco. SUBSCRIPTION RATES: $2.00 one year, U. S. and Possessions. Canada $2.50 one year.
$4.00 per year all other countries. CHANGE OF ADDRESS: 6 weeks’ notice essential. When possible,
please furnish stencil-impression address from a recent Issue. Address change can 1>e made °^y lf
have vour old as well as your new address. Write to Photoplay, Macfadden Publications, Inc., 20o Last
42nd Street. New York 17. N. Y. MANUSCRIPTS, DRAWINGS AND PHOTOGRAPHS will he carefully co^idered but
publisher cannot be responsible for loss or damage. It is advisable to keep a duplicate copy for your ® dy

material accompanied by stamped, self-addressed envelopes or with sufficient return postage WJ“ retm •

FOREIGN editions handled through Macfadden Publications International Corp. 205 East 42nd Street , New York 17 .
N. Y. Irving S. Manheimer. President; Douglas Lockhart. Vice-President. RE-ENTERED as Second Class Matter
May 10. 1946. at the Post Office at New York. N. Y.. under the Act of March 3. 1879. Authorized as i Second Class
mail P. O. Dept., Ottawa. Ont. . Canada. Copyright 1956 by Macfadden Publications, Inc. All rights 'esecitrfun der
International Copyright Convention. All rights reserved under Pan American Copyright Convention. Todos derecnos
reservados segun La Convencion Panamericana de Propledad Literaria y Artistica. wmirMS GROUP

Patent Office. Printed in U. S. A. by Art Color Printing Company. Member of TRUE STORY WOMEN S GROUT .

BOB AND KATE! SIMPLY GREAT!

Together for the first time!

§1

M-G-M presents in VISTaV ISION and TECHNICOLOR®

BOB
HOPE

KATHARINE
HEPBURN

“THE IRON PETTICOAT

The story’s about an American aviator
and a Russian girl flyer in London.

She gets to like our American ways ,
as taught by Bob. She’s a spy ;
he’s a spy; so it’s spy-high with hilarity!

with

NOEL MIDDLETON JAMES ROBERTSON-JUSTICE

ROBERT HELPMANN

Produced by BETTY E. BOX * Directed by RALPH THOMAS
A REMUS FILM • Produced in association with HARRY SALTZMAN

An M-G-M Release

. 'a

■smm

aver the

Editar9s shautder ...

A great man talks about his greatest movie

Previews of exciting features to come

Man with a Mission

If you’ve been lucky enough to catch
an early showing of “The Ten Command-
ments,” you’ll surely understand why, when
we heard Cecil B. DeMille was in town,
we went hurrying off to talk to him. We
found Mr. DeMille in a quiet hotel suite
high above the roar of Fifth Avenue, and
listened, spellbound, to the story of the
making of this truly epic film. “ ‘The Ten
Commandments,’ ” said Mr. DeMille gen-
tly, “is not a movie, it’s a mission. Each
of us would like to feel, I believe, that we
have made some contribution, no matter
how small, to the future of the human

Mr. DeMille fulfills his mission

We Accept with Pleasure

. . . And with genuine gratitude the
many, many letters that have come in en-
thusiastically endorsing the idea of book-
length condensations. We also appreciate
receiving suggestions for future book-
lengths. Among the stars proposed by our
readers are Frank Sinatra, Natalie Wood
and Montgomery Clift. Watch for them in
future issues, and don’t miss “The Rock
Hudson Story” that begins in February.
This isn’t just another Rock Hudson story.
It is the Rock Hudson story, told as Rock
lived it. And do let us know how you like
this month’s full-length story, “Crack-Up.”

For Women Only

When the man in your life tries to get
out of a date, do you ask suspiciously,
“Why? Are you seeing another woman?”
If he shows up with a telltale smudge of
lipstick on his collar, do you put him
through a third degree until he tells you
what you don’t really want to hear? Then
by all means hear Rossano Brazzi’s advice
on “How to Have a Love Affair.” The ro-
mantic star of “Summertime,” “The Story
of Esther Costello” and the forthcoming
“Interlude” is an expert on such things, as
you’ll find out when you read this startling-
ly frank story in February Photoplay.
We accept no responsibility, however, for
what may happen if you let this story fall
into the hands of the man in your life!

Otto doesti’t want to he a gentleman

on Chuck, while .he and Lydia talked over
their future plans for their son, Fraser. . . .
Kerwin Matthews and Valerie French
(“Garment Center” stars) chatted about
their future plans over tall, cold drinks in
the Rainbow Room. ... A luncheon with
Francis X. Bushman and another with Otto
Kruger reminded us that charm knows no
years and no seasons, but is perennial. Why
aren’t we seeing more of Otto Kruger on the
screen? “If only,” he sighed, “they’d stop
insisting that I must be cast as a ‘gentle-
man’ and give me some comedy roles. After
all, when you’ve played, successfully, every
kind of role from Shakespeare to — ” Then
he broke off, shrugged, smiled and said,
“But then, that’s Hollywood. Besides, I’d
hate to leave my garden.”

race. I like to feel that, with this picture,
I have made some slight contribution
toward the cause of peace.” Mr. DeMille
hopes that enough people, not only in this
country, but all over the world, will pause
to see and ponder on the message that is
“The Ten Commandments.” “If people ad-
hered to those commandments,” said this
gentleman of seventy-four summers, whose
eyes and mind are as sharp as ever, “which
are, after all, natural law, God’s law, war
and bloodshed, greed and envy would be
unheard of.”

“The Ten Commandments” is an emo-
tional and spiritual experience from which
no audience can go away unmoved. Mr.
DeMille refused to take any money for
producing it, beyond a regular salary — a
salary much smaller than he would usually
command. “You cannot have the pleasure
p of making a contribution,” smiled this
great man of the movies, “and, at the same
time, expect to be paid for it.”

Our Welcome Wagon

We were kept busy last month welcom-
ing a lot of our Hollywood friends to New
York, and we must admit this is one of
the nicest parts of our job. Charlton Hes-
ton and his lovely wife, Lydia, were in
town, and one night over dinner at Sardi’s
we talked over our future plans for stories

Frank stories to be told about Rossano, Monty

Reminder to Mineo Fans

If you still have your December Photo-
play and haven’t entered the Sal Mineo
contest, you have until December 9th to
get in your entry blank. Note that the
name of Sal’s picture has been changed to
“Rock, Pretty Baby.” You may be the
pretty baby to attend its premiere with
Sal — if you hurry!

Looking Ahead

The year ’57 will be one of the best for
you Photoplay readers, with more color,
more stories and pictures than ever. In
addition to ten full-length feature stories
in February, you will find an important
beauty article on how to correct your most
prominent feature fault. And with Valen-
tine’s Day coming up, don’t overlook the
Elvis Presley charm bracelet that you can
order through Photoplay (see page 53).
’Til next month. — I.M.

PARAMOUNT PRESENTS

T CHARLTON

Heston

WERE WlT*olsZ

Three lives twisted
together in an emotional
whirlpool too fierce
to be fought!

THE REDHEAD...
LOOKING FOR A
MAN . . . AND COLT
WAS ALL MAN !

^°pl’oWER-MADv

WOMAH-HUH^

q,antfromtexas.

GILBERT

Roland.

Vfofe^f Veoph.

Tkyontuckerbenneii-

-STRITCH •Produced by Hugh Brown - Directed by Rudolph Mate -Screen play

by James Edward Grant*

LET’S GO
TO THE
MOVIES

WITH JANET GRAVES

EXCELLENT

V’'/'/ VERY GOOD

y''/’ GOOD

V' FAIR

TheTenCommandments paramount;

VISTAVISION, TECHNICOLOR

I'WV' No one but Cecil B. DeMille could have made this
epic, the story of Moses. The cast is firmly dominated by
Charlton Heston, as the great Jewish leader, and Yul
Brynner, as the Pharaoh jealous from childhood of the
hoy raised as foster son of a princess (Nina Foch).
Among the vast panoramas and dazzling camera magic,
the human element is further strengthened by an array of
stars, including: Anne Baxter, as the princess who covets
Moses; Yvonne De Carlo, as the shepherd girl who be-
comes his wife; John Derek, as the brave Joshua; Debra
Paget, as his sweetheart; Edward G. Robinson, as a Jew-
ish overseer who helps Egypt persecute his own people,
but must go with them on the mighty Exodus. family

BEST ACTING: YUL BRYNNER. CHARLTON HESTON

Aaron (John Carradine) and Moses (Charlton Heston) ask a miracle that will show Pharaoh (Yul Brynner) the power of God

Around the World in 80 Days

MICHAEL TODD; TODD-AO, EASTMAN COLOR

PVW It’s colossal! — and it’s sheer, wonderful nonsense,
never taking itself seriously for a moment. This sparkling
version of Jules Verne’s classic casts David Niven as the
pompous British hero, who bets (back in 1872) that he
can circle the globe in eighty days. With him goes Mex-
ico’s great comedian Cantinflas, as his resourceful valet.
And the party becomes a trio when they rescue Hindu
princess Shirley MacLaine from a fiery death. One mad
adventure follows another; breathtaking scenes shot all
over the world sweep across the huge screen, to rollicking
music. But the human scenery’s the big surprise. Forty-
two top stars of several nations do bit parts with gay good
cheer; famous faces keep cropping up casually. family

Continued on page 78

EUA KAZAN’S

production of

TENNESSEE WILLIAMS'

boldest story!

Her name is

CARROLL

BAKER.

She's raw
electricity.
Here is a
very special
new star.

_ Shes .
nineteen.
She
makes
her

husband
keep
away
— she
won't
let the
stranger

9°

away

from WARNER BROS. STARRING

L MALDEN • CARROLL BAKER • ELI WALLACH

Story and Screen Play by TENNESSEE WILLIAMS • Directed by ELIA KAZAN - A NEWTOWN Production

' Mo'cf believe /a qs
ewer embd rr^ssecf
by Pifrip/es/''

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Address your letters to Readers Inc., Photoplay,

205 E. 42nd Street, New York 17, New York. We
regret that we are unable to return or reply to any letters
not published in this column. If you want to start a fan
club or write to favorite stars, address them at their studios.
For list of studio addresses, see page 66. — Ed.

READERS I AC...

SOAP BOX:

My husband and I just returned from a
wonderful vacation in Hollywood. We were
fortunate to meet many of the stars in per-
son, but I d like to tell you about one in
particular. We were walking down Vine
Street and saw Peter Hanson going into
a studio. I stopped him and asked if I
could take a picture. He was so very nice,
and talked to us like be had known us all
of our lives. He’s our favorite actor now,
and I’m looking forward to seeing him in
"The Ten Commandments.” Will you please
publish this picture which I took of him,
with my letter, so I can thank him for his
courtesy?

Thelma Goodwin

Chicago, Illinois

I think you have a wonderful magazine,
and after reading about Jimmy Dean, I
couldn't resist writing this letter.

I, too, think Jimmy Dean was a wonder-
ful actor and I know many other people
agree with me. But 1 think it is utterly
ridiculous to keep on writing stories about
him and selling metal charms of him. For
heaven’s sake, let the poor boy rest in peace.
Many other great stars have died also, but
their names have not been carried on and
on like Jimmy Dean’s has. After all, he has
been dead over a year now7, and nothing
is going to bring him hack.

Marlene Swaim
St. Louis, Missouri

The above letter reflects the thinking of
thousands of Jimmy Deans fans and of
your editors. We heartily agree that the
many promising young stars coming along
should be given this space and attention,
and we also feel that, were Jimmy alive to
cast his vote, he would feel the same way.
Therefore, Photoplay says its final fare-
well to Jimmy Dean with the publication of
this letter. — Ed.

I wonder if American teenagers get as
fanatical in their adoration of favorite stars
as do British fans?

I know a 15-year-old Cheltenham typist
who reckons that five years of being a Doris
Day fan has cost her enough pocket money
to pay for a trip to America! When Doris

Day was in London, this girl obtained three
weeks’ leave from her job just to follow'
her around, and moved into a friend’s Lon-
don flat. She has 10,000 Doris Day pic-
tures, and has about forty records of the
Day singing voice. She saw “Calamity Jane”
and “April in Paris” thirty times each.
She lost one office job because she took
time off to see a Doris Day film.

Then, there’s the young Irishman who
is a fan of Marlene Dietrich. He took a
week off from his job in Dublin, and spent
all his savings to go to London to see her.
He has more than 1,000 newspaper clip-
pings about her, 700 photographs, and has
seen all her available movies more than
twenty times.

To be near Johnnie Ray, two girls gave
up dancing and going out for six months
to save forty pounds. They took a double
room for a week at the singer’s hotel in
Manchester during their holiday; booked
eight pounds worth of tickets to see every
show at the theatre where he appeared;
and bought him a six-pound box of choco-
lates specially wrapped to spell out the
singer’s name!

Barbara Atkin
Stockport, Cheshire, England

I have just seen the wonderful movie, “A
Kiss Before Dying,” and I thought it was
tops. If movie-goers could give Oscars. I
would give mine to Bob Wagner. I think
he’s a great actor ! I hope his part in this
picture will mean more good roles for him.

Sue Carol Cook
Versailles, Kentucky

I address this poem to the older people
who don’t like Elvis Presley:

Elvis Presley has made a hit
With every girl, I’ll admit.

He’s handsome, nice, and friendly, too,
The girls all like him, why don’t you?
Remember when you used to swoon
When Frank Sinatra began to croon?

I’ll bet your mothers and grandmothers, too,
Were disgusted with the lot of you.

But now you're older, and you can’t see
What we like about Elvis Presley.

We like him ’cause he sings so well
He makes our hearts just swell and swell;
And what we teenagers want to know
Is why you all dislike him so.

Joan Hobbs
Boyne City, Michigan

When the movie “Raintree County” was
being filmed in Danville, my husband and
I drove over one day to watch a scene being
filmed. The cast and crew7 were wonderful
and so patient with all the “bother” caused
by the many fans who were watching. We
saw Rod Taylor, Eva Marie Saint, Monty
Clift, Lee Marvin and many others. I just
want to say that they were friendly human
beings. They posed for pictures, talked to
fans, and in general were just the opposite
of the rumors that they were “stuck up.”

Nelvina Agee
Richmond, Kentucky
Continued on page 14

Whatever became of the girl

I married?

mmmmm WSm
1 111 ! WSA £ ;l M

They say one partner in every marriage is more in love than
the other. And in the Millers’ case, everyone had thought it was
she. Then, almost overnight, her affection seemed to cool.
She didn’t want his kisses— she avoided his embrace. Poor John!
He never even suspected that his breath might be to blame.

Why risk offending? Listerine stops bad breath (halitosis)
instantly.

The most common cause of bad breath is
germs . . . Listerine kills germs by millions

By far the most common cause of bad breath is germs— germs
that ferment protein always present in the mouth. Research

proves that, the more you reduce these
germs, the longer your breath stays
sweeter. And Listerine Antiseptic kills
germs on contact— by millions.

No tooth paste or non-antiseptic mouthwash
kills germs the way Listerine does

Non-antiseptic tooth pastes, mouthwashes and “breath fresh-
eners” can’t kill germs the way Listerine does. You need an
antiseptic to kill germs. Listerine IS an antiseptic— and that’s
why it stops bad breath four times better than tooth paste.
Gargle with Listerine full-strength to keep breath fresher, longer.

LISTERINE ANTISEPTIC . . . stops bad breath 4 times better than tooth paste

Natalie W ood’s love life is like a revolving door
these days — Nick Adams going out, Presley coming
in, and Nat looking to see who’s next on her list

Cal York 's Gossip of Hollywood

Fortune's Child: Like Elizabeth Taylor,
Natalie Wood seems destined to get
everything she wants in life: Beauty,
success, beaux and. now. a string of
important movies, including “Band of
Angels” and the best-selling “Marjorie
Morningstar.” We wonder whether Nat-
alie ever ponders over the fact that some-
times the unhappiest people in the world
are those who do get everything they
want, so that finally they find themselves
with nothing to wish for, nothing to
hope for. All the excitement goes out of
life, and you find yourself wishing, not
for things you can have, but for things
you shouldn't have. And maybe getting
them. More and more people are seeing
similarities between Natalie and Liz. and

more and more of Nat’s friends are
hoping that she won’t, like Liz, insist
on growing up too fast.

Saddest Story of the Year: Just when
Gene Tierney’s friends were celebrating
her return to work and to Hollywood,
she collapsed again and had to return
to the Eastern sanatorium where this
unhappy and talented young woman has
spent so much time during the past
two years. Gene’s personal tragedies have
simply overwhelmed her — her broken
romance with Aly Khan, the illness of
her younger daughter, the secret dread
that, back in pictures, she might no
longer he the success she once was. And
yet 20th Century-Fox had so much faith

in her that they had penciled her in as
lead in one of their biggest pictures of
1957, “Wayward Bus.” It’s the same old
story, new again each time it happens:
A human being can stand just so much
pressure, and Gene Tierney had with-
stood one blow after another. When she
so openly announced her engagement to
Aly Khan, who then shifted his at-
tentions elsewhere, it was more than her
battered pride and her tortured ego could
take. Gene Tierney is not through, either
as an actress or a person. When she
knows she is not alone, when she real-
izes how many people are rooting for her,
she will, we’re sure, make one more
struggle to return to the world of work
and love and happiness. And this time,

Even at the height of her romance with Aly Khan,
Gene Tierney’s friends predicted nothing but
heartache. But even they didn’t foresee tragedy

Dick Egan’s Number One girl is still Pat Hardy,
and Cal will be surprised if Dick remains a bachelor
through 1957. But then, Pat will be surprised, too

Fess Parker outlived Davy Crockett, and has some
thoughts of his own about the Elvis Presley boom.
But that’s not what he’s telling Ann Tynan about

The trouble with the Charlton Hestons is that
they’re just too happy. Hard to believe that people
once believed their marriage didn’t have a chance!

we are also sure, her triumph will be
complete and final.

Right for Each Other: That’s what Pat
Hardy and Dick Egan are, and no mat-
ter how many girls Dick might date, he
always ends up with Pat. And our boy
really played the jealous lover recently
when Bob Neal stopped by at a party
to ask Pat for a dance. Dick growled,
“Go get your own girl,” and refused to
let Pat leave the table. When a romance
reaches this stage, we say, “Why don’t
you marry the girl?” Hmmmm?

Here Today: It’s Elvis Presley’s turn
now, and he’s become a millionaire in
one short year. ( Continued on page 54)

To what new shore and what new love will Rita
Hayworth’s wandering take her? IF hat new life and
love will Jack Lemmon find to take Cynthia’s place?

RIOOIC P»|N

. . and wore

,\ete rtUe ’ ‘ it ads W*

«-“£? *?• ’
u verves ..b\ues.

ache and %\DOL -
Win6e 01 "

- VCH®^

* mensHoo*'°5

HftO ‘ D . »nraPPe’ 1

tse°^P'0il'y'r0PP

All Drugstores
have Midol

PHOTOPLAY
<;<»■■> MEDAL

FOR 1056 -LOST

STARS

1. Adams, Julie

2. Adams, Nick

3. Allyson, June

4. Andrews, Dana

5. Angeli, Pier

6. Arden, Eve

7. Baxter, Anne

8. Bergman. Ingrid

9. Bogart, Humphrey

10. Borchers, Cornell

11. Borgnine, Ernest

12. Brando. Marlon

13. Brynner, Yul

14. Burton, Richard

15. Cagney, James

16. Calhoun, Rory

17. Campbell. William

18. Caron, Leslie

19. Cassavetes, John

20. Chandler, Jeff

21. Charisse, Cyd

22. Collins. Joan

23. Cooper, Ben

24. Cooper. Gary

25. Crain, Jeanne

26. Crawford, Joan

27. Crosby, Bing

28. Curtis, Tony

29. Dailey, Dan

30. Damone, Vic

31. Danton, Ray

32. Davis, Bette

33. Day, Doris

34. DeHaven, Gloria

35. de Havilland, Olivia

36. Derek, John

37. Douglas, Kirk

38. Egan, Richard

39. Ekberg, Anita

40. Ewell, Tom

41. Farr. Felicia

42. Ferrer, Mel

43. Fisher, Eddie

44. Fleming, Rhonda

45. Fonda, Henry

46. Ford, Glenn

47. Forsythe, John

48. Gaynor, Mitzi

49. Gobel, George

50. Grahame, Gloria

51. Granger, Stewart

52. Griffin, Stephanie

53. Hayward, Susan

54. Heflin, Van

55. Hepburn, Audrey

56. Heston, Charlton

57. Holden, William

58. Holliday, Judy

59. Hope, Bob

60. Hudson, Rock

61. Hunter, Jeffrey

62. Hunter, Kim

63. Hunter, Tab

64. Jeanmaire

65. Johnson, Van

66. Jones, Shirley

67. Jourdan, Louis

68. Kaye, Danny

69. Kelly, Grace

70. Kerr, Deborah

71. Kerr, John

72. Ladd, Alan

73. Lancaster, Burt

74. Leigh, Janet

75. Leith, Virginia

76. Lemmon. Jack

77. Lewis, Jerry

78. Lollobrigida, Gina

79. MacLaine, Shirley

80. MacMurray, Fred

81. MacRae, Gordon

82. Madison, Guy

83. Magnani, Anna

84. Malone, Dorothy

85. Martin, Dean

86. Martin, Dewey

87. Martin, Tony

88. Mason, James

89. Mature, Victor

90. Mayo, Virginia

91. McGuire. Dorothy

92. Miles, Vera

93. Milland, Ray

94. Mineo, Sal

95. Mitchell. Cameron

96. Mitchum, Robert

97. Monroe, Marilyn

98. Moreno, Rita

99. Murphy, Audie

100. Murray, Don

101. Nader, George

102. Nelson. Lori

103. Newman, Paul

104. Nielsen, Leslie

105. Niven, David

106. North, Sheree

107. Novak, Kim

108. O’Connor, Donald

109. O’Hara, Maureen

110. Olivier, Laurence

111. Paget, Debra

112. Palance, Jack

113. Parker, Eleanor

114. Parker, Fess

115. Pavan, Marisa

116. Peck, Gregory

117. Perkins, Anthony

118. Podesta, Rossana

119. Power, Tyrone

120. Presley, Elvis

121. Reed, Donna

122. Reynold, Debbie

123. Richards, Jeff

124. Rogers, Ginger

125. Roman, Ruth

126. Rush, Barbara

127. Russell, Jane

128. Russell, Rosalind

129. Ryan, Robert

130. Saint, Eva Marie

131. Scott, Martha

132. Sernas, Jack

133. Shaw, Victoria

134. Sheridan, Ann

135. Simmons, Jean

136. Sinatra, Frank

137. Stack, Robert

138. Stanwyck, Barbara

139. Steiger, Rod

140. Stewart, James

141. Strasberg, Susan

142. Sullivan, Barry

143. Tamblyn, Russ

144. Taylor, Elizabeth

145. Taylor. Robert

146. Todd, Richard

147. Tracy, Spencer

148. Turner, Lana

149. Vera-Ellen

150. Wagner, Robert

151. Wayne, John

152. Wayne, Pat

153. Widmark, Richard

154. Williams, Esther

155. Wood, Natalie

156. Wyman, Jane

157. Wynter, Dana

Hurry ! Hurry ! This is your last chance

to vote for your favorite stars and movie of 1956.

Mail your Gold Medal ballot today!

MOVIES

1. Alexander the Great

2. All That Heaven Allows

3. Ambassador’s Daughter, The
1 Anastasia

5. Anything Goes

6. Around the World in

80 Days

7. Artists and Models

8. Attack!

9. Autumn Leaves

10. Away All Boats

11. Backlash

12. Bad Seed, The

13. Bandido

14. Barretts of Wimpole

Street, The

15. Benny Goodman Story, The

16. Best Things in Life Are

Free, The

17. Between Heaven and Hell

18. Beyond a Reasonable Doubt

19. Bhowani Junction

20. Bigger than Life

21. Birds and the Bees, The

22. Bold and the Brave, The

23. Bo:tom of the Bottle, The
24 Bundle of Joy

25. Burning Hills, The
26 Bus Stop

27. Carousel

28. Catered Affair, The

29. Cha-Cha-Cha Boom!

30. Come Next Spring

31. Conqueror, The
32 Court Jester, The

33. Court-Martial of Billy

Mitchell, The

34. Crime in the Streets

35. Cry in the Night, A

36. D-Day the Sixth of June

37. Death of a Scoundrel
T!. Diane

39. Earth vs. the Flying Saucers
I I. Eddy Duchin Story, The
II. Edge of the City
4!. Everything but the Truth
I ’ Fastest Gun Alive, The
4 I- First Traveling Saleslady,

The

4 1 Flight to Hong Kong

46. Forbidden Planet

47. Foreign Intrigue
16. Forever, Darling

49 Fr iendly Persuasion

50. Fury at Gunsight Pass

51. Gaby

52. Giant

53. G’ory

51. Goodbye My Lady
5> Great Day in the Morning

56. Great Locomotive Chase,

The

57. Guilty

58. Harder They Fall, The

59. He Laughed Last

60. He'en of Troy

61 Hell on Frisco Bay
6’. High Society

68. Hilda Crane
64. Hollywood or Bust
6>. Hot Summer Night

66. Houston Story, The

67. Huk!

68. Indian Fighter, The

69. Iron Petticoat, The

70. Jubal

71. Julie

72. Killer Is Loose, The

73. Killing, The

74. King and I, The

75. Kiss Before Dying, A

76. Last Frontier, The

77. Last Hunt, The

78. Last Wagon, The

79. Leather Saint, The

80. Lieutenant Wore Skirts,

The

81. Lisbon

82. Living Idol, The

83. Lone Ranger, The

84. Love Me Tender

85. Lust for Life

86. Man in the Gray Flannel

Suit, The

87. Man in the Vault

88. Man Who Never Was, The

89. Man Who Knew Too

Much, The

90. Man with the Golden

Arm, The

91. Meet Me in Las Vegas

92. Miracle in the Rain

93. Moby Dick

94. Mountain, The

95. Never Say Goodbye

96. On the Threshold of Space

97. Opposite Sex, The

98. Our Miss Brooks

99. Pardners

100. Patterns

101. Picnic

102. Pillars of the Sky

103. Port Afrique

104. Power and the Prize, The

105. Proud and Profane, The

106. Proud Ones, The

107. Public Pigeon No. 1

108. Ransom!

109. Rawhide Years, The

110. Rebel in Town

111. Reprisal!

112. Revolt of Mamie Stover,

The

113. Richard III

114. Rock Around the Clock

115. Rose Tattoo, The

116. Rumble on the Docks

117. Safari

118. Santiago

119. Searchers, The

120. Serenade

121. Seven Men from Now

122. 7th Cavalry

123. Sharkfighters, The

124. Solid Gold Cadillac, The

125. Somebody Up There Likes

126. Spoilers, The

127. Star in the Dust

128. Stranger at My Door

129. Tea and Sympathy

130. Teahouse of the August

Moon. The

131. Teenage Rebel

132. Ten Commandments, Tbe

133. Tension at Table Rock

134. That Certain Feeling

135. Toward the Unknown

136. Toy Tiger

137. Trapeze

138. Tribute to a Bad Man

139. True Story of Jesse James,

The

1 40. 23 Paces to Baker Street
1 11. Unguarded Moment, The
142. Vagabond King, The
1 13. Walk the Proud Land
1 14. War and Peace

145. Westward Ho the Wagons!

146. While the City Sleeps

147. You Can't Run Away

from It

148. Young Stranger, The

^ «<o for vour Favorite Stars
anil Movie of 11I5B

EEST MALE PERFORMER

( List star by number )

BEST FEMALE PERFORMER

( List star by number)

BEST FILM OF 1956

( List picture by number)

Mail your ballot to* PHOTOPLAY GOLD
MEDAL AWARDS, Box 1893, Grand Cen-
tral Station, Rezo York 17 , N. Y. Ballots must
be received no later than December 31, 1956.

1 on need not sign your name.

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RKADlSliS INC. (Continued j rum

Movies are better than ever! Hollywood
has produced Richard Anderson’s highly
controversial play, “Tea and Sympathy”
with deep understanding. Deborah Kerr is
outstanding as the sympathetic housemother,
and John Kerr is excellent as a sensitive
young man who dares to be non-conformist.

Bud Starwas
Flint, Michigan

It has often puzzled me why movies are
not filmed on location in Canada. They are
filmed in England, Europe and Africa, but
rarely in Canada. I saw “Pony Soldier” a
while ago with Tyrone Power. It is a pic-
ture about Canada, when Indians were
roaming the plains of the western provinces.
This would give the impression to anyone
not knowing Canada that we sleep in dread
of Indians scalping us in our beds. I’ve met
people from the United States who have
that impression, and it is certainly not true.

I live in Newfoundland, and I have yet to
see an Indian or Eskimo. We have some very
beautiful spots here and are proud of every
one of them. Since we are neighbors of
the United States, we think it would be
nice if Hollywood realized there were very
nice locations right next door.

Dianf, Phelan

Bell Island. Newfoundland, Canada

I have been patiently waiting to see an
article and pictures of John Cassavetes in
Photopi.ay. I believe after seeing “Crime
In The Streets” that this young man has
great acting ability. Come on, fellow Pho-
topi.ay readers, what are your opinions of
this talented person? Let’s start clamoring
for his picture and stories about him.

WlLLOWDEAN ChANNING
Bloomer, Wisconsin

I II never forget the wonderful picture,
“The King and I.” I think it is the most
outstanding musical I have ever seen. Yul
Brynner has indelibly stamped himself in
my memory. With his eyes snapping in
anger, or shining bright with laughter, his
head bare and yet characteristic of a Sia-
mese king, his voice defiant, angry or rebel-
lious, or soft-sounding when happy, he was
truly a king, and he held me spellbound.

Karen Zimmerman
Trenton, New Jersey

QUESTION BOX:

My friend and I were talking about the
movie "Red River” one day and were de-
bating whether or not John Ireland acted
in it. Did he?

R. D. Ward

Naramata, British Columbia, Canada

John Ireland portrayed the part of Cherry
in " Red River,” which starred John Wayne,
Walter Brennan, Montgomery Clift and Jo-
anne Dru. — Ed.

I would like some information about
which studios Tab Hunter and Sal Mineo
are connected with. 1 have tried to get this
information from other sources, unsuccess-
fully, and would appreciate your help.

Marcia Morey
Seattle, Washington

Tab Hunter’s studio is Warner Bros.; Sal
Mineo^is with Columbia Pictures. — Ed.

I have just seen “The Eddy Duchin
Story,” and loved it. But I have one ques-
tion: What has become of his son, Peter
Duchin ?

Dolores H. Rosener
Festus, Missouri

W e understand that Peter Duchin, who is
about 20 years of age, attends Yale Uni-
versity.— Ed.

page 8)

I would like to know if John Kerr and
Deborah Kerr are related.

Frances Berry
Louisville, Kentucky

No, they are not related. — Ed.

Please tell me the names of the stars who
played in “Roman Holiday.”

Dorothy B. Brian
Mobile, Alabama

Audrey Hepburn and Gregory Peck
starred in “ Roman Holiday.” — Ed.

Could you please set me straight on
something? I have seen both “Love Me
lender" and "The Reno Brothers” named
as Elvis Presley’s first movie. Will you
please tell me which is correct?

Joyce McCord
Daytona Beach, Florida

They are one and the same picture. It
was first titled “ The Reno Brothers,” but
was later changed to “Love Me Tender.” —
Ed.

LOOK ALIKES:

In Photoplay’s November issue, you
published a picture of Stephen Archer of
Crovden, New Hampshire, whom you
thought looked like Rock Hudson. Well, I

Rock Hudson look-alike: Chuck Huntington

think my son Chuck, or “Rock,” as his
friends call him looks more like Rock Hud-
son. Here is his picture. Don’t you agree?

Mrs. Charles Huntington
Paterson, New Jersey

CASTING:

I have just read One Man Loved by Mar-
guerite Mooers Marshall, and think it
would make an excellent movie, with the
following cast: Dana Wynter as Joan Perk-
ins; George Nader as Stanley Judd; Van
Johnson as Ricky Stewart; Piper Laurie as
Midge Stewart; Spring Byington as Dr.
Ruth McLeod.

Pat Hogg
Willoughby, Ohio

Come on, Hollywood — you have an Acad-
emy Award movie right under your nose —
the historical novel by Rubylea Hall called
The Great Tide. This is a moving and dra-
matic story of the fabulous Florida West
Coast in the boom days of 1830 to 1840.

Beautiful Elizabeth Taylor w’ould be per-
fect as the tempestuous and lovely Carolina
Cochran; Henry Fonda would do well as
Douglas Blackwell whom Carolina married
without loving him; and Clark Gable could
portray Studd Stevens, the irresistible gam-
bler whom she loved without marrying;
Cameron Mitchell could do Anderson Mc-
Quague; and Elvis Presley could perfectly
portray Tom Burnham, reckless, dark and
handsome.

Betsy Anne Bolger
Dunedin, Florida

“What do you want for Christinas?”
asked Venetia. “You,” said Russ. So they added a
turkey and had a feast of love

Russ was appointed to do the marketing while
bride Venetia stayed home to puzzle over mystery
of making a dressing like Mother used to make

Russ likes a highly seasoned
dressing, but did she add a
little too much sage, perhaps?

Russ tackles that California
specialty, Caesar salad — guar-
anteed to he non-fattening

Good food, good health, good luck. Across a candlelit table, a perfect Christmas

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A symbol of Liz's familiar problem: experi-
enced Mike Todd, youthful Kevin McClory

Continued

Who Will Be Elizabeth Taylor’s Next
Husband?

BY ALUSE MOSBY

• In October of this year, Elizabeth Taylor finally announced
she was leaving for Reno, Nevada, where, after establishing the
usual six weeks’ residence, she would file suit for a divorce from
her second husband, Michael Wilding. Almost in the same breath,
she announced that she would sell the beautiful big house in
Benedict Canyon where she and Mike and her two sons, Christopher
and Michael, Junior, have lived for the past two and a half years.

Close friends of Liz saw in this twin announcement a clear in-
dication of her plans for the future. Then she would marry millionaire
sportsman and producer Mike Todd, after all.

Continued

Whether or not it’s Mike Todd , chances are he’ll be an older man. Here’s why

But, like his wealthy successor. Bill Pawley, Glenn
had only part of the qualifications Liz needed

At 16, Liz found the strength she has always
searched for in football hero Glenn Davis

Lost between two worlds , Liz, the child9 searches for a father , the woman for a lover

Close friends of Mike Todd's, in New York, were
dubious. They cited the difference in ages; they pointed
out that until as recently as last September Mike was still
using the long-distance telephone regularly to call actress
Evelyn Keyes in Europe. But the wife of one of Todd’s
closest friends said, ‘ On the other hand, when Mike and
Liz were here for dinner, they certainly had eyes for no
one but each other, and they held hands during the entire
evening. If that isn’t love, what is it?”

Another friend recalled the fact that Liz bore a striking
resemblance to Todd’s first wife, Bertha Freshman, from
whom he was separated in 1945 after twenty years of
marriage and by whom he has a twenty-six-year-old son.
Mike, Junior. The entire last year of that marriage was
marked by tragedy and quarrels that made the headlines.

Bertha Todd died, under what the newspapers referred
to as “mysterious circumstances,” after accidentally sever-
ing a tendon in her hand while peeling an orange. At the
hospital to which she was taken three anesthetics were
administered, the last one ether. She died under the
anesthetic for reasons that were never made entirely clear.

Although they hadn’t lived together for years before
their final separation, Mrs. Todd’s death, coming as it
did under such strange circumstances, was a severe shock
to Mike Todd. There was no other woman in his life
until his marriage to Joan Blondell in 1947. This marriage
ended in divorce in 1950. There were no children.

The next woman to figure importantly in Todd’s life was
Evelyn Keyes, a very different type from either Todd’s
first wife, Bertha, his second wife, (Continued on page 72)

^LOVERS— f

First husband Nicky Hilton combined wealth
~Swith social position, but Liz's illusions of
being taken care of were soon shattered

Who Will Be Elizabeth Tayior’s Next Husband?

Continued

Two other losers in the Liz Taylor romance sweep-
stakes — Kevin McClory and Monty Clift — were
never more than fill-ins between husbands. Kevin,
a gay, amusing escort, was a foil for the Mike Todd
romance ; Monty “ brought out the mother ” in Liz

Mike Todd, five years older than Wilding, again com-
bined a fatherly protectiveness with a love of fun. But
there are many reasons why Todd may not be the man

At 19, her normal hunger to be treated as the child
she was found an answer in marriage to Mike Wilding,
twice her age but, she said, “just a boy at heart”

EDITOR’S NOTE: Here are the three most talked-about young actors
in Hollywood today — Murray, Perkins and Presley. Here is what
Hollywood and movie audiences think of them. Here is why each
of them is destined to start a whole new trend in movie heroes

Don Murray is as wholesome as a gust of fresh air sweeping down from the mountains.
He’ll always be “the good guy’i * * * * * * * 9— and that’s what he is • by EDWIN HANSON

i \

• Don Murray comes to the screen and to

Hollywood not like a breath, but like a gust of
fresh air, a young man full of good spirits, good
sense and good cheer. Less than a year after
signing with 20th Century-Fox, Don is known in
the trade as a “tough interview,” because you
can dig all day, talk to anyone who’s ever known

him, and you won’t come up with a single, blessed
word that’s “gossip,” that isn’t all in Don’s
favor. He’s clean-cut, wholesome, deeply re-
ligious and seems inevitably slated to play manly
but unsophisticated screen roles, such as the one
in “Bus Stop” which got his screen career off

to such a flying start.

Don’s interviews also get off to a flying start —

and then come to a dead stop — as a result of
the first question ever put to him. “You and

Marilyn Monroe both studied at the Actors’ Studio,”
the interviewers invariably point out, “and after
all, landing a plum such ( Continued on page 66)

Don waited five years for Hope,
is happy ‘‘just to he married”

The snow was from “Bus Stop,”
good wishes from Josh Logan

mv-

LITTLE

But beneath that shy , boyish grin is one of today’s finest talents • BY LAVRA LANE

• Have you ever watched a small boy sitting impatiently through a
long family dinner? Then you know exactly what Tony Perkins is
like. He’s a squirmer. He’s a fidgeter. He’s a restless young man
whose moods come upon him swiftly and then, almost before you can
grasp their meanings, are gone again. In fact, Tony’s moods pass and
shift so suddenly that anyone spending an hour or so with him comes
away with a feeling of uncertainty. Is he or isn’t he? Did he or didn’t
he? You also may come away feeling faintly foolish, certain that you
have been playing “straight man” for some subtle jokes which you have
taken seriously. And yet, you can’t be sure. (Continued on page 76)

Earl predicts that Presley will be the greatest
lover of them all. Elvis got along well with
fellow actors, took direction easily, proved
capable of producing any variety of emotions

Color photos by Nelson Tiffany

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Hollywood calls him “« natural
Not since Valentino has an actor
had such an appeal for women

r»

• Say what you want to, I think Elvis
Presley will be the 1957 Rudolph Val-
entino or John Gilbert.

I mean, he can be a colossal screen
lover. And this boy is no dope. He’s
determined to accomplish what he sets
out to do, whether it’s singing, acting
or making a girl.

It’s doubtful if the Valentino wor-
shipers adored Rudolph any more than
the Presley fans love Elvis. One day in
Hollywood some fifteen-year-old girls,
with the name “Elvis Presley” stitched
on their toreador pants legs and guitars
on the backs of their sweaters, waited
for him until he went to lunch.

Elvis asked them to come into a
luncheonette with him, and he bought
them sandwiches.

“Of course, we couldn’t eat. We just
watched,” one ( Continued on page 70)

BY EARL WILSON

conscious teen-a ge jans to so-
phisticated young actresses like
Natalie Wood and Debra Paget,
and older women like Debbie’s
mother, Maggie. They all find
his tough but gentle, charming
yet uncouth manner fascinating.
Presley, in turn, finds women —
all women — equally fascinating

■ -v :

• We were waiting for a cab, the slender,
dark-haired girl and I. Her large eyes
looked at me reproachfully and her voice
was an anguished wail, “Do you really
want me to go on being a juvenile delin-
quent, Mummy? Because I’ll do it if you
want me to.”

My daughter Joan had no idea how the
question sounded until it had been said —
in Joan’s vibrant, dramatic and far-carry-
ing voice. When realization dawned, she
gave a little gasp, then began to giggle.
I turned around to find every single soul
in the vicinity glaring at me as if I were
intent on pushing my child into a life of
crime. I disappeared as quickly as pos-
sible into a taxi, Joan climbing in after me.
As the cab pulled away from the indig-
nantly staring people on the street, Joan
and I looked at each other and then col-
lapsed in helpless laughter.

What we’d been discussing was her
career. Joan, under contract to J. Arthur
Rank at the time, had been cast as a de-
linquent in film after film. She was ter-
ribly worried about being typed and
wanted to ask to be released from her con-
tract, whereas I had been suggesting that
she wait a while. ( Continued on page 63)

it'. .

Mrs. Collins encouraged, Joan’s
acting career. Her Dad didn’t

Pinning the Photoplay Gold
Medal was Joan’s first big triumph

Joan’s parents didn’t approve her
marriage. Sister helped win divorce

Joan’s parents do approve of
Arthur Loew, Jr., think they'll wed

ELIGION

HOLLYWOOD

BY DON ALLEN

The off-beat religions, like the off-beat people, make headlines, but what of the others?

• "In their daily work.” said Bishop Gerald Kennedy of Holly-
wood’s Methodist Church, “movie people are constantly dealing
with strong emotional and dramatic values. And perhaps for this
reason, they seem to be more fully aware than the average person
of a deep-felt need for divine guidance and spiritual under-
standing.”

In past years, writers and critics have held Hollywood up as
an example of much, if not all, that is weak, sinful or carnal in
human nature. Hollywood is usually depicted as a land of tinsel
and cardboard, built by pagan gold, and peopled by shallow
“characters” whose only motivation is a desire for the fast buck.
But today the exact opposite is true. Today the citizens of Holly-
wood are just as serious, hardworking, virtuous, civic-minded and
God-fearing as people in any other town or city across the land.

“Hollywood people are human beings,” says Rabbi Edgar F.
Magnin of the Wilshire Boulevard Jewish Temple. “They have
virtues in common with all mankind. They work hard, raise their
families, build homes and churches, and worship God. And, just
like others, they have their faults, too.”

Unfortunately, it is for their non-conformity rather than for
their conformity that these golden and glamorous creatures are
known. For, as another church leader has pointed out, “Movie
people exist in a perpetual spotlight. They live with their shades
up. Most other people live with the shades down.”

Sunrise services at the Hollywood Bowl

Continued

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RELIGION IN HOLLYWOOD

Continued

With wealth and success has come an even greater need to believe that God and love

Undoubtedly there have been times
when Hollywood has suffered from the
wrong kind of publicity, sometimes de-
served, sometimes not. In a community
where more than 400 correspondents
and 50 photographers constantly elbow
each other in their efforts to gather
“hot” movie news, this is perhaps un-
derstandable. Nevertheless, it is true
that most Hollywood people are quite
normal in their desires for a home, chil-
dren, and a reasonable amount of emo-
tional as well as financial security,
which means spiritual peace of mind.
And while national church membership
recently reached a new record high of
60.9% of the total population, the
Hollywood figures are slightly higher,
showing 61.3% to be affiliated with some
church organization.

Hollywood has never been a night-
club town. This is a fact that many
visitors discover, to their surprise. In

the yellow pages of the telephone book,
for example, a total of 58 night clubs
are listed. But the same book gives
listings for 1,087 churches. A few of
these are representative of such lesser-
known faiths as the Vedanta Society.
The Sky Pilot Revival Center, I Am
Accredited Sanctuary, and the Self-
Realization Church. But a very large
percentage are churches of the major
denominations which have many affilia-
tions across the country and throughout
the world.

A great number of Hollywood’s
churches are imposing in appearance
and modern in design. The First Pres-
byterian Church of Hollywood has the
largest congregation of that denomina-
tion in the United States. The Wilshire
Boulevard Jewish Temple is justifiably
proud of a history in Los Angeles that
dates back more than 100 years. And
the new Mormon Temple, a massive

Jane Russell formed a psalm-singing chorus that toured the country Inst Christinas, made

Russ Tamblyn and bride V enetia
follow precepts of Mormonism

Marrying into the Jewish faith,
Debbie said, “We’re all equals’

]

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i I /

are there for all who need them

Mayan-style building standing on twen-
ty-five acres, is the largest and most
magnificent of the ten Mormon Tem-
ples in the world.

But despite these encouraging figures,
the question of divorce and other un-
conventional behavior in Hollywood is
bound to be raised. “How can they be
so religious,” comes the concerted cry
from a thousand Main Streets, “when
they’re always divorcing people to
marry other people?”

Divorce, however, is not peculiar to
Hollywood. The percentage of divorces
in Hollywood is no larger than in New
York. The difference is that in Holly-
wood the people suing for divorce have
names that make news, and so it is that
every day’s headlines seem to carry
some fresh report of one star or another
going to Reno, Las Vegas or Mexico.

The really amazing thing that is re-
vealed by a study ( Continued on page 83 )

a fortune for orphans of all creeds

Maureen O'Hara with the Pat O’Briens outside the Catholic Church. Catholics
may be divorced, as Maureen was, but the Church says they may not remarry

Jewish Jerry Lewis married a Catholic, but says, “It's never made any dif-
ference to either of us." This shrine was erected in memory of Patti’s mother

Dorothy Malone, escorted to church by her brother, greets Nancy Sinatra.
Says Dorothy, “ Religion isn’t part of my life. My life is part of my religion ”

pell R f»RS>

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AIRMAIL

TOKYO, JAPAN

Dear Pete,

What a welcome, finding your letter here at the hotel wait-
ing for me! I’ll try to answer all your questions. First: What
is it like over here?

I think the best way to answer that one is to tell you about
a little incident that took place in a museum once. There was
a fantastic “painting” there called “White on White.” I stopped
to study it, and another man near me did the same.

“What do you think it is?” he asked me.

“I don’t know,” I said. “It looks like a snowstorm to me.”

“No,” he decided. “It looks more like a white building
through a fog.”

Another man walked up and scoffed at the painting. “This
is a masterpiece?” he said sarcastically. “A blob of white on
a piece of white canvas? Anybody can do that.”

“I’m not so sure,” the superintendent of the gallery said,
having overheard us. “People come here from all over and
study it. They look at it and put their own interpretation on
it. ‘White on White’ makes people think, and what they see is
the result of their own thoughts.” ( Continued on page 57)

Glenn is honored, by a group of
Boy Scouts and ivalches a game
of American hopscotch played on
a street in Japan. Later, one
of the little boys “ adopted "
Glenn so that he wouldn’t miss
Pete too much while he teas away

The things that bring people
together, Glenn found, are
always more numerous than the
things which separate them. A
love of movies and sports,
prayers at twilight, were some
of these shared experiences

Learning to eat strange foods,
and familiar foods strangely
cooked, i vas always an interesting
though not always successful ex-
perience. Glenn came home hun-
gry for one thing Japan couldn’t
offer in food — hamburgers !

OVER

A young boy questions, and a father
tries honestly to give the answers . Peter
Ford learned from Glenn’s letters that
love speaks a language everyone knows

BY GLENN FORD

Glenn shopped for gifts for his
wife, Eleanor, and his son ;
went on tours of the ancient
city. He found no language
barrier. “If you can smile and
say ‘Thanks’ you can get along
anywhere, including Japan"

BY PATTY DE ROULF

She shocked her parents by being born, 3 B shocked her teachers, assorted neighbors

and, finally, the world, by splashing into a pool fully clothed. But there

are more shocks in store— for you haven9 1

heard the last of Diana

Diana's ex- prizefighter husband,
Dennis Hamilton (below), was not
met by Diana’s father, Albert Fluck,
or her Aunt Kit (above) on his
recent journey home to England

# Like another famous blonde beauty,
Diana Dors has led the kind of life that makes
for good copy — and makes people want
to find out more about her. What is true
and what is false? Is she just “England’s
answer to Marilyn Monroe” or is she an
actress in her own right, and here to stay?

Six months after arriving in America she
made enough headlines to blanket the
country. She had earned a reputation as a
wit and a sharp cookie. She was also known
as a girl who never underestimated the
power of a buck. One of her best press
agents is her husband, Dennis Hamilton, who,
among other things, has described his wife
as “the world’s greatest sex-pot.”

Diana has added to the legend of Dors
with such remarks as, “I’m a woman in a
man’s world.”

By being just that, Diana today collects
$75,000 a picture, owns palatial homes in
England and Hollywood, as well as three
luxury cars, an airplane, a yacht and a
mink bikini. Her first American picture,

“I Married a Woman” co-stars George Gobel.
People who saw the first rushes on it
came away vowing that anyone who thinks
Dors is just a sex-pot is seriously under-
rating her.

“This girl,” they say, “can act. She’s
terrific.”

Who is she and how did she get here? Not
only to America, but to a position in the
acting world where ( Continued on page 86)

If getting pushed into her swimming
pool was, as many people believe, a
publicity stunt, it worked. Next day
Dors was headlined all over the world

■r&E

I II If

• : ' -y ’’

WATCH

Why Tob Hunter has become

Hollywood's Biggest

BY JOHN MAYNARD

Tab Is Wondering:
"Did I Goof?"

This is the craziest story to come
out of Hollywood. Read it,
but you still wont believe it

• At the spot in Los Angeles where the
Sunset Strip melts into Hollywood proper,
there are two adjacent establishments. One
is a drugstore, famed Schwab’s, and the other
a restaurant, Googie’s. They have some-
thing in common besides being neighbors.
They are the gathering places, the hangouts,
of Hollywood’s young and aspiring film
players. Here the kaffeeklatsch is endless,
the talk is nothing but shop talk — some of
it meaningless, some of it penetrating, some
gay, some bitter, some vicious.

And much of the talk these days is con-
cerned with one of the group’s more distin-
guished alumni, the fellow Arthur Gelien,
whom the young hopefuls, in common with
‘ most people, call Tab Hunter.

It is believed, in these rather discerning
circles, that Tab Hunter has reached a
crucial moment in his career. It is believed
that now — or never — he is going onward
and upward, and that there is no alternative
but professional catastrophe. But there is
little agreement on how the dice will fall.

“Tab,” observes a young contemporary
who probably can fairly be suspected of
malice or even jealousy, “is a freak. No-
body likes him but the people. I’m not kid-
ding you. You talk to producers over at
Warners’ and they’ll tell you he’s a head-
ache. Except at the box office, where it
counts. They can’t even figure whether he’s
got talent or not.”

But this man’s young companion, a girl
a little too well-known to want her name
associated with anything controversial, takes
issue with him. “How,” she says, “can they
tag him with that no-talent label when they
haven’t given him a chance to use his tal-
ent? Believe me, he does have it. I’ve
worked with him ( Continued on page 65)

Not Enough Work?

Knowing how much he
had to learn, he put
away his ice-skates and
knuckled down to study

Too Much
Publicity?

Knowing the importance
of publicity. Tab was al-
ways willing to pose for
“ beefcake ” and date art

Too Many Dates?

He did his studio's bid-
ding regarding dates,
like one with Nat Wood
and newcomer Sal Mineo

Can I Believe Her?

Mrs. Gertrude Gelien,
his mother, says, “You'll
be a star and an actor."
Tab hopes she's right

Fans Too Young ?

He worked hard to get
fan mail and fan support,
but did he limit himself
too much to teenagers?

This is the unforgettable story of the crack-up of
one of the greatest talents in show business — told
in its entirety and told for the first time. It’s the
story of how Judy Garland went broke on a hun-
dred thousand dollars a year , lost her faith in
family and friends— and found it again when she
learned to have faith in herself

BY JOE HYAMS

• A close friend of Judy Garland’s recently described her as a
cracked plate, still useful but dangerously near the end of its service.

This is the story of the cracks in the plate, of how an exceptionally
talented young lady experienced a crack-up of all values, a crack-up
she scarcely knew about until long after it occurred.

It is not a pretty story. Some of it has been told before, but no one
has ever understood how the gradual building up of tensions, each
small within itself, can lead to the crack-up of a great talent.

There is no real beginning because, like the slow, studied dripping
of water on stone, tension takes a long time to make an impression.
The pressures are always there, because all life is a process of break-
ing down, but the big blows — the ones that breed nightmares and
insomnia and headaches and sessions with psychiatrists — don’t show
their effects all at once.

The powerful blows are the ones that come from within, like the
time Judy was only ten years old and a member of the Gumm Sisters
vaudeville act. The family lived in Lancaster, California, a small
town where Judy’s father managed a movie theatre.

Every weekend Mrs. Gumm gathered up her three girls, took them

Continued

She lived too hard \ she worked

“I almost killed myself trying to keep up with Mickey
Rooney ” says Judy. She turned to food, got so fat her studio said
she looked like a monster. Above, Clark Gable, Shirley Temple

to Los Angeles and put them on-stage for as little as fifty
cents per girl per performance, then brought them back
home to Lancaster.

“I always felt like a freak in Lancaster,” Judy recalled
recently. ‘'We were show folks.”

Once, when a major charade was being planned, Lan-
caster social leaders called on the Gumms, borrowed their
professional costumes, admired the girls — but didn’t invite
them to the party. Show business kids were all right as
entertainers but not as social equals.

That was the first time Judy Garland was made aware
she was “different.” It was not the last.

When she was twelve her mother and father separated.
Judy was the baby of the family — she was even called Baby
— and the apple of her father’s eye. She never understood
why he left her.

When she was thirteen Judy enrolled at Hollywood High
School. A vice-principal who was to be one of her teachers
came over and said, “People like you should not be allowed
to go to school with normal children.”

In those days Judy was as round as a ball, with just as
much bounce. She was pretty, with large brown eyes, a
farm-fresh complexion and a puppy-dog personality. She

First divorce teas from composer and orchestra
leader David Rose after four years. Judy blamed it
on “ career conflicts” but says, “He was good to me”

Second marriage to director Vincente Minnelli
took place one week after divorcing Rose. Six years
and one child later she was broke, jobless and ill

First breakdown sent Judy to Peter Bent Brigham
Hospital. Judy's studio paid all the bills. Eleven
weeks later she went back to ivork. It was too soon

CRACK-UP

Continued

oo hard Her breakdowns were inevitable — her comebacks amazing

Second breakdown followed close on the
heels of the first. Hysterical, Judy tried to cut
her throat; an M-G-M executive tries to explain

Second divorce sent Judy on another eating
spree. At 28 she was considered to be through,
but meeting Sid Luft started her on comeback

But tragedy struck again. Judy’s mother,
Mrs. William Gilmore, died under circum-
stances that sent Judy once more to psychiatry

was, she believed, as normal as blueberry pie, certainly as
normal as any other little girl of thirteen.

What do you say to a teacher who tells you you’re not
normal, don’t belong with normal children?

Judy said nothing. But she was so upset she never re-
turned to the school. Instead she enrolled at a private school
with other “professional children.”

Dorothy Gray, a child star in those days and Judy’s best
friend, remembers her as Baby Gumm, the prettiest girl in
her class, popularly conceded to be the most talented.

“Judy and I did all the things little girls like to do, from
making fudge to roller skating,” Dorothy recalled. “But
whenever we went to the movies we had to leave our names
at the box office in case we got a studio call.

“There were a lot of things we couldn’t do, like take
regular vacations or go swimming, because we might miss
a film call or catch cold.

“We theatrical kids used to be embarrassed when our
pictures were in the paper because the other — normal —
kids we knew would tease us. I guess in a way we were
robbed of childhood. Only two ( Continued on page 60)

Third marriage, to Sid Luft, has been far
from serene, but children like Liza, Lorna and
“Little Joe,” plus Judy’s new success, save it

Elia Kazan entrusted Carroll with the lead in the controversial
“Baby Doll” but husband Jack Garfein (left) discovered her first

Even Carroll Baker isn’t sure which she is, so how can we he?

BY GLADYS HALL

• Whether they like it or not, they’re going to talk about
it. Whether they like Carroll Baker or not, they’re going
to talk about her. “Baby Doll” is that kind of picture.
Carroll Baker is that kind of girl.

Doing her second movie role in a picture that is ad-
mittedly going to stir up controversy, a picture that is
all hers — -with Elia Kazan directing her, and Karl Malden
and Eli Wallach working with her — sets Miss Baker right
out in front of the female contingent of “the rebels,” “the
blue-jean set,” “the Actors’ Studio crowd.” Elia, Karl
and Eli are three of the most forceful of Hollywood’s
forceful new generation. “Baby Doll” is one of that gen-
eration’s most exciting creations. It all adds up to make
Carroll a sure bet for notoriety, if not fame.

The question is sure to arise, is she really a blue-jean
kind of girl? Is she a feminine version of the leather-
jacket, motorcycle-riding boys who have set staid Holly-
wood on its ear in recent years? Or is she just an actress
doing a job? In brief, is she a rebel or a lady? Or is
it possible that she’s both?

On the face of it, Carroll is certainly a product of the

•

famed Actors’ Studio in New York. Lee Strasberg, head
of the school, gave her private lessons. She was taken
straight from those and a few roles on TV and Broadway
to “Giant.” She was chosen by George Stevens, as shrewd
a judge of talent as there is in Hollywood, to play Eliza-
beth Taylor’s younger daughter, starting at the age of
eleven and progressing through her teens to the point of
having a one-sided romance with Jett Rink , played by
Jimmy Dean. Stevens, after watching her work, said that
she is one of the screen’s great finds. Kazan, choosing
her for the taxing, powerful role of Baby Doll, said the
same.

In appearance, Carroll has a round-faced prettiness
which she deplores. Sometimes she stands in front of a
mirror and sucks in her cheeks, hoping it gives her the
gaunt, Katharine Hepburn kind of attraction she’d like
to have. And she showed up for our interview at one of
New York’s fashionable theatrical restaurants — having
traveled by subway— wearing a tweed skirt and topcoat,
no hat, with scarcely any make-up. As she entered, no
heads turned. ( Continued on page 80)

Glamour 6ab

Reflections on a year just finished, predictions for the

A fine day for a picnic, and a fine year for Doris Day, love-wise, money-wise

Comeback Girl

With all the current excitement about
Jayne Mansfield, even Hollywood seems to
have forgotten that she was under contract to
Warner Brothers a mere two years ago. No-
body noticed her much then. She was given
bit roles to do and sent on press junkets
such as the “Underwater!” preview in Flor-
ida. Having been on that trip, I can testify
that Jayne rated hardly a glance.

How the girl has learned in the mean-
time! Since starring in “Will Success Spoil
Rock Hunter?” on Broadway, Jayne has
mastered the art of publicity. In today’s
Hollywood, even if she is only going to the
grocery store, you see her - togged out in a
mink coat to her heels, over a dress that fits
her tighter than her skin. She is never alone,
either. But what a picture she presents, with
her little daughter held tight by one hand
and the big, dark, muscular former Mr.

Billy Pearson and Vincent Price, find Terry Moore
a changed woman since she became Mrs. McGrath

The Lancaster -B or gnine feud
soured the year for Burt L.

of Hollywood

year ahead in the land of stars

BY RUTH WATERBURY

Dick Kallman looks happier than
Margaret O'Brien, who has career woes

America, Mike Hargitay, held tight with
the other. They stop conversation everywhere.

Fishing Poles Outside

Stars in Hollywood are continually “re-
doing” their houses. June Allyson is the
latest to be smitten with this virus, but so
far not a stick of the Allyson-Powell fur-
niture is up for sale. June is just moving
stuff around in their house — “and that in-
cludes me,” says Dick Powell, her doting
husband.

June has moved Dick out of his den be-
cause, of all things, she has taken a liking to
Elizabethan furniture. This style is very
heavy, very dark and very powerful, and why
little June has an immense crush on it no-
body can explain, including herself. But
right now she adores it, so to make room for
the Tudor chests, chairs and cupboards, Dick
has had to give up his den, which was a
hobby room, full of guns and fishing poles.

All year, Kim. Novak denied Frank Sinatra romance rumors. IF ill she change?

Not So Cheap Lunch

My personal nomination for the most un-
spoiled girl in the celebrity world is Doris
Day. She went home to Cincinnati recently
for the preview of her excellent new picture,
“Julie,” and she didn’t forget one name. She
still sends out fruit cakes, which she bakes
herself, as Christmas presents to her friends.
She keeps right up with her sandlot base-
ball playing with her son, Terry, and she’s
the only star I know who’ll call you up,
apropos of nothing, and say, “Hi! This is
Dodo. Let’s have a cheap lunch.” Then you
find out her idea of a cheap lunch is
Romanoff s, where if two get out for ten
dollars it’s because one of you was dieting.

Beloved Music Man

If everybody in the film colony went to all
the parties that are given, there would never
be one inch of pictures made. But when an
affair like the testimonial dinner for David
Rose comes along, it’s so heartwarming there
is no resisting it.

Certainly you know David Rose, composer
of “Holiday for Strings” and many another
lovely tune. But the Dave Rose Hollywood
loves is the all-around fine musician and
flawless friend. Thus, the whole town came
out for his party, with Howard Keel sing-
ing for Dave, Red ( Continued on page 68)

Debra Paget’s new jew el- encrusted car be-
gins her year of more glamour, bigger roles

Back from picture -making, a new Errol Flynn
hugs his daughter while wife waits her turn

Lita’s Yule present to Rory :
the baby both longed for

living wm

YOUNG IDEAS

PHOTOPLAY STAR FASHIONS

Blossoming now, fresh new fashions to brighten your January-through-June wardrobe

Cottons are the coming thing — and brightening the season now,
Lee Remick‘9 sky blue textured cotton looking for all the world
like hopsacking tweed. It shapes a neatly-carved dress with
pointed pique collar. Pretty news: the squared-off vest, coin-
dotted in white and lace-edged. Also ice cream pink or lemon.
Sizes 5-15. By Junior First. About $18. Glovelels by Dawnelle

To wear from now on (and all year), Valerie Allen's two-part
invention for a busy fashion life, price-tagged at a minimum.
First part: a black whistle-slick sheath with scooped neck,
high Empire line. Topping it, a cropped plaid jacket, back-but-
toned, the collar overlaid with spanking white. Also brown, navy.

January refresher: violets blossoming on a snowy background, translated into Val-
erie Allen’s shirtwaist charmer with shirt-cuff sleeves, a finely-tucked bodice bib.
In Everglaze jacquard cotton. Also pink, blue prints. 5-15. By Sue Brett. About $18

First sign of spring — the silk print. Lee Remick’s is brilliant red with black
tweedy print, the new bloused top balanced with a gleaming choir boy collar, black
velvet bow. Also green, royal with black. Sizes 5-15. By Toni Edwards. Under $30

Delicious for the first sunny day, Norma Moore’s full-blown polished cotton dress
with the biggest skirt in town. It’s splashed with giant blue cabbage roses, has
a high square neck dipping low at the back, a lime grosgrain Empire band ending
To buy fashions, see stores and information , page 74 in long back streamers to tie at will. Sizes 8-16. By Nelly de Grab. About $15

SPRING FASHION FORECAST: fair and sunny

YOUNG IDEAS

Continued

NORMA MOORE WILL BE SEEN IN *'FEAR STRIKES OUT,” PARAMOUNT

SEE LEE REMICK SOON IN A FACE IN THE CROWD,” A NEWTOWN

PRODUCTION FOR WARNER BROS,

LOOK FOR VALERIE ALLEN NEXT IN PARAMOUNT’S “FUNNY FACE*

AND OMAR KHAYYAM

FASHION PHOTOGRAPHS BY BERT AND STAN ROCKFIELD

SPRING FASHION FORECAST: fair and sunny

C Good taste at a young price — a lean and willowy
sheath in woven silk and cotton. It flatters the fig-
ure with handsome graduated stripes, a trim waist,
jutting winged pockets. The spark: white lineny trim.
Lee Remick selects red and white. Also teal, black
with white. Sizes 7-1 f». By Betty Barclay. Under $15

A Spring’s prettiest silhouette — the capelet, here Lee
Remirk’s gentle shoulder-covering version in wool jer-
sey, closed with enormous “pearl” buttons. It’s lined
with the coral and white silk print of the floating
dress with tucked bodice, high cummerbund. Also blue
and white. Sizes 5-15. By Toni Edwards. About $35

D Valerie Allen chooses satin-striped plaid in sunset
colors to warm an early spring evening. It boasts a
wide, square neckline, wisp of sleeve, closely crystal-
pleated torso above the swirling skirt. Added gleam, a
black patent belt. In a batiste blend of Dacron and
cotton. Sizes 5-15. By Henley Junior. About' $22.95

B Early spring roses scattered on pale blue polished
cotton — Norma Moore’s dress with a warm-weather air,
a cool-weather cover-up. The blue Orion cardigan's
banded with matching print, then rhinestone-lit. It
stops short above a stand-out skirt of unpressed pleats.
Also pink, maize. 10-18. By McKettrick. Under $18

E Sure-to-dazzle costume that doesn't rush the season.
In Herbert Meyer textured cotton, a sheath papering
the figure with bold black and white checks, piped at
the s'ashed neck with black. New cover-up: an inky
rayon linen bolero, button-trimmed. Also brown, blue
with white. Sizes 5-15. By Betty Barclay. Linder $18

To buy fashions, see information and stores listed on page 74

LOVE

Good friends, neighbors, a loving fam-
ily, and a boy's character is moulded

It was not until after his father’s death that Jim
MacArthur realized the true worth of the words and

memories left to him • BY EVELYN CARSON

• Under ordinary circumstances, one would expect to find a young
movie actor in Hollywood, making — or waiting for the chance to make
— movies. As in most phases of life, however, there’s always an ex-
ception to the rule. In this case the exception is nineteen-year-old
James MacArthur, who makes his screen debut in RKO’s “The Young
Stranger.”

Nowadays, Jim is to be found in Boston — on or near the Harvard
campus, to be exact, where he is a freshman. If you’re in the vicinity,
you’re apt to catch him hurrying across the quad to a history class . . .
or tinkering with his Thunderbird (his high-school graduation present,
which periodically acts up, much to Jim’s annoyance I ... or lounging
in one of the two big easy chairs he and his roommate acquired second-
hand ... or munching on a snack from the icebox they acquired the
same way ... or deep in a beer-and-bull session with the boys.

In many ways, Jim is just what you expect a college freshman to
be. He has natural, boy-down-the-street good looks. His steady eyes
are clear blue, his skin glows with health, and his sandy hair is so
crisply crew-cut that only a suspicion of a curl remains. He stands
about five-feet-six and has the trim, lithe build of an athlete. He is the
kind of fellow any girl would love to date and any guy would like to
pal around with.

We’d be the first to agree that Harvard seems about the most in-
congruous place for a rising young actor to be. But Jim MacArthur
would disagree pointedly, and he has his reasons, all of which makes
sense. They also make you realize that Jim is an extremely level-
headed, farsighted young man. ( Continued on page H2)

Sinatra -

Lovely Valerie Allen selects music to charm the
ear — a dress to charm the man who’s sharing it with
you. In polished cotton with a satin glow, striped
in pink and raspberry, it has a standaway cowl
neckline, pearl button closing at front and sleeve.
Flattering the waistline: a deep pink leather belt.
In junior sizes 5-15. By Sue Brett. About $17.95.

Playing her sensational new albums, a sleek new
consolette phonograph selected as much for its
richness of design as for the elegance of its high-
fidelity sound. It plays four speeds, has three
loudspeakers and provision for stereophonic sound.
In a handsome wood case on tubular brass legs.
Mark VI by RCA Victor. $139.95 in mahogany.

Phonograph at leading dealers and department stares.
To buy dress, see stores listed on page 74

GIANT

YOUNG IDEAS:

RECORDS

what’s

spinning

Whether it be a standard or a clas-
sic or a swinging jazz piece, a record
is an ideal gift to let those special ones
in your life know that you have not for-
gotten them at this holiday season.

For that very special gift, we suggest
the fabulous panorama of the great
music that was born and developed in
New Orleans, Chicago, San Francisco,
and New York, complete in one five-
record album. Riverside’s “History of
Classic Jazz” is the actual original
music of the creative titans of classic
jazz and includes sixty-plus recordings,
capturing for you the full, rich sweep
of America's colorful, exciting musical
heritage. This unique collection fea-
tures such all-time greats as Louis Arm-
strong, Fats Waller, Duke Ellington,
Bessie Smith, King Oliver, Muggsy
Spanier, Sidney Bechet, Kid Ory, and
many others.

For the young guy or gal in your

life — if he or she is just plain crazy
about folk music — we suggest that you
present them with a copy of “The Josh
White Stories.” This is truly the de-
served return to records of the cele-
brated storyteller with the stool and the
ear-held cigarette. Josh has lost some
of the fierce intensity of earlier days,
and has become the polished showman.
But he still underlines deftly the humor
and pathos and sorrow in some great
folk blues. Instead of the customary
type of cover notes, ABC-Paramount
has utilized the space to provide the
words to all the tunes Josh does. Among
them is the slyly funny “Boll Weevil,”
plus the familiar “Frankie and John-
ny.” “Nobody Knows You When You’re
Down and Out,” and the rocking “What
You Gonna Do.” It’s truly a fine col-
lection.

The noted golfer, Don Cherry — who
looked so long for a hit and finally ran

into “Band of Gold”— has finally been
awarded an LP of his own. And he
takes advantage of it, cashing in espe-
cially on “For You” and “I Didn’t
Know About You.” Backed by Ray
Coniff and his band, “Swing for Two”
on the Columbia label is a long-de-
served showcase for Don.

“Blue Moon,” a new Decca release,
is a thoroughly satisfying, touching and
re-energizing recital by Carmen McRae.
She sings with sweet, flexible strength
twelve well-selected numbers including
“Lush Life,” the too seldom sung
“Lilacs in the Rain,” “I’m Putting All
My Eggs in One Basket,” and such
relatively unfamiliar material as “No-
where” and “Summer Is Gone.” Tadd
Dameron and his band back Carmen
on four of the sides, while Jimmy Mun-
dy leads the orchestra on the others.
Carmen always sings as if she feels the
lyrics. She is a most welcome artist,

If your heart belongs
to Elvis... and you don't
care who knows it...

Here’s a bracelet
that shows it!

a type seldom found among younger
vocalists of quality.

“Dream,” a beautifully recorded soft
dance program on Fantasy records, is
good danceable music played by Elliot
Lawrence, pianist and arranger. Lawr-
ence plays along with his all-star band
which includes Tony Miranda on French
horn, Fred Pfeiffer on oboe, and a
rhythm section of Russ Saunders and
Sol Gubin. All but two arrangements and
originals are by Lawrence. While this
is mood music, it’s several notches above
most of its kind, much more intimate.

The Melachrino Strings guide you on
a delightful excursion through one of the
world’s most exciting cities with “Paris —
the Sounds; the Sights,” on RCA Victor.
The sounds of the city, the tempestuous
sighs of Parisian life, are crystallized in
the music of the people. The package is a
plush one, with salon photos and text by
Esquire Magazine’s travel editor, Richard
Joseph. The fidelity is crisply impressive,
from the sounds of the Metro to conversa-
tion along the Champs Elysees, and the
gentle rhythm of the Seine. This melod-
ically sound album makes a proud bow
to an illustrious city.

Odds and Ends:

Movie-makers are really carried away
with the idea of platter names singing the
title or main songs in a picture. For ex-
ample, the Four Aces -sing in U-Fs “Writ-
ten on the Wind,” the Four Lads in 20th
Century-Fox’s “Bus Stop,” Frankie Laine
in Paramount’s “Gunfight at the OK Cor-
ral,” Pat Boone in A.A.’s “Friendly Per-
suasion,” and Elvis Presley in 20th’s “Love
Me Tender.” Bill Haley and his Comets
have been signed to appear in their sec-
ond full-length film for Columbia, thanks
to the reception given their first, “Rock
Around the Clock.” The new picture is
called “Rhythm and Blues.” . . . Columbia
records has come up with a do-it-yourself
jazz kit, titled “Add a Part Jazz and You.”
The kit contains a 12" LP with twelve
tunes performed by a seven-piece combo,
plus the sheet music for each tune. . . .
Another recent release from the movies is
the Columbia recording of the theme
music from “Giant,” “Rebel Without a
Cause,” and “East of Eden.” This is an
album you will want to have in your col-
lection to recall fond memories of the late,
great James Dean. . . . Jimmy Gavin, one
of our own discoveries, has released an-
other big one on Epic, “The Ballad of
Jesse James” and “Hitchhiking Man.”

W ear your heart on your sleeve!
Why not? Especially when it’s on a
beautiful, gold-plated charm bracelet
that’s so right for those sweaters and
skirts you live in these days. Or give
it as a gift to your favorite rock ’n’
roll friend. A handsome link bracelet
with four charms — a real auto-
graphed photo of Elvis in a frame,
a miniature of his famous guitar, a

broken heart (remember “Heart-
break Hotel”?) and a darling little
hound dog. And. later, more charms
can be added if you like. It arrives
in an attractive clear plastic box
perfect for gift-giving, and it looks
like much, much more than its very
modest price. This bracelet can be
purchased only through this issue of
Photoplay. Lise the coupon below.

HALOGENE CORP.

Photoplay Bracelet Dept.

715 Fifth Avenue, New York 22, N. Y.

Please send me Elvis Presley bracelets

at $1.10 each, including tax and postage.

I enclose check; money order; cash

Name

Address

City Zone State

YOUNG IDEAS: PHOTOPLAY PATTERNS

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silhouette — to team with its own companion
blouse, or all your sweaters and blouses!
Misses’ sizes 12-20. Size 16 jumper takes
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boasts — soft folds from smooth hipline to
hemline, topped by a graceful bow! So flat-
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Size 16 takes 3 % yards of 39-inch fabric

Send thirty-five cents (in coin) for each pattern to: PHOTOPLAY Patterns, P. O. Box
133, Old Chelsea Station, New York 11, N. Y. Add 5(: per pattern for first-class mailing.

INSIDE STUFF

( Continued, from page 11)

In addition to the fabulous sums he’s
being paid for TV appearances and movie- 1
making, his manager, Colonel Parker, runs jl
a right profitable sideline of Presley brace-
lets, hats, sideburns, ties and velvet shirts, jj
It doesn’t seem so long ago that a young |
man named Fess Parker had the country j
and, for that matter, the world, on a Davy ;
Crockett spree that promised to go on for- 1
ever. Davy Crockett is no more, as far 4
as Fess is concerned, but Fess has com- 1
pleted a trip to Europe and the best movie j
of his career, “Westward Ho the Wagons!” 3
He is also a very, very interested observer |
of the Presley craze as, no doubt, he pon- 1
ders that old saying, “Here today, gone
tomorrow!”

The Year of the Stork: For all those cynics
who insist that life in Hollywood is a mad i
whirl of parties, night clubs, careers and j
divorce, we offer statistical evidence to the J
contrary. Never has the stork been so J
busy. The Gregory Pecks, Tony Curtis I
and Janet Leigh, Debbie and Eddie, Jean A
Simmons and Stewart Granger, Don Mur- .4
ray and Hope Lange. . . . Pretty soon, j
we’re gonna run out of bassinets out here! |

Things We Never Thought We'd See: The |

break-up of the Paul Newman marriage, a
which seems headed that way with a “trial
separation.” . . . Young Kerwin Matthews, I
under contract to Columbia Pictures for I
three long years, finally getting the break I
he so richly deserves, and his first starring I
role, in “Garment Center.” And getting it 1
from Columbia, who turned out to be as I
loyal to him as he was to them. . . . Bob «
Stack’s consistently good performances be-
ing rewarded by a top role in Ernest Hem- J
ingway’s “The Sun Also Rises” re-make 1
. . . And Tab Hunter finally announcing !
himself as highly pleased with his next 1
role, which will be that of the nephew in I
“Auntie Marne,” the best-seller turned I
Broadway hit. . . . And, last but not least, I
Susan Hayward wearing a hat.

Evasive Action: When Rod Steiger was .f
asked why a man living alone would take ?|
a four-bedroom home in Malibu, in addi-
tion to a home in Laurel Canyon, Rod re- j
plied casually, “Oh, I guess I’m just im-
pulsive. When I decided I’d like a beach
house, I called the real estate agent and
told him I wanted one that night. Turned y
out the only one he had happened to have
four bedrooms and a year’s lease, s-o-o — ” I
Any comment on the rumors that linked
his name with that of Diana Dors, who
co-stars with him in “The Lady and the
Prowler”? “Sure,” said Rod, “she’s a
great actress.” It does seem, though, like 1
an awful lot of bedrooms for one man.

Falling in Love Again: Looks that way, j I
say friends of Rita Hayworth. Seems Rita ;
always starts throwing things when she
feels an emotion coming on — and she
usually throws them in the direction of any i
photographers trying to take her picture.

So when she went into action in a Paris
night club, grabbing a camera from a pho-
tographer’s hands and throwing it out the
nearest window, people began humming
“April in Paris” and wondering what his
name was. Rita has announced that she
will live abroad permanently, so it prob-
ably isn’t an American. Meanwhile, after
finishing “Fire Down Below” with Jack j
Lemmon and Bob Mitchum, Rita next j
prepared for “Pal Joey,” with Frank Si- I
natra and Kim Novak. It’s hard to be- 1
lieve that Rita will play the “older worn- j
an” who is Sinatra’s love, though.

Brothers United: When Nick Adams met
his brother, Dr. Andrew Adams, for the
first time in seven years, his first words
were “Blimey, you do look a bit like me.”
It was a family joke, Nick says, since they
don’t look a thing alike. It all started
when Andrew was in London studying to
become a doctor. He went to a movie
house to see Nick’s first picture, and when
Nick’s face came on the screen Andrew
got so excited he shouted, “That’s my
brother!” A cockney sitting nearby
brought down the house when he lighted
a match and, in the flickering light, ex-
claimed, “Blimey, he does look a bit like
ya, guv’ner.”

June Bride Coming Up: At this writing, it
looks like Joan Collins will be the bride
of Arthur Loew, Jr., in June, when her
divorce is final. While Joan was in the
Caribbean on location for “Seawife,” Ar-
thur flew there to visit her, then Joan
flew back to Hollywood to visit him be-
fore going to Jamaica for “Island in the
: Sun.” Looks like those British Empire
girls have the formula for catching hard-
to-trap eligible bachelors. South African
Dana Wynter led the elusive Greg Bautz-
er to the altar with the greatest of ease.
Unless our eyes tell lies, Joan will do the
same with Arthur Loew, Jr., who has suc-
cessfully eluded the marriage noose since
he and Janet Leigh almost walked down
the aisle together.

True, True Love: You should be seeing
; 20th’s “The Barretts of Wimpole Street”
just about this time, and when you do,
i watch out for a pretty thing named Vir-
I ginia McKenna. Behind her there is such
a great love story. It goes all the way
back to “Mogambo.” That is when Holly-
wood first discovered this sensitive young
blonde. Sam Zimbalist, producer of “The
Barretts,” was also the producer of “Mo-
gambo,” and he wanted a light, delicate
girl to play contrast to fiery, dark Ava
Gardner and the intense, dark Gable in
his African epic. He hunted all over
America and couldn’t find quite the girl to
suit him, so he shipped out to London, saw
Miss McKenna, hired her.

Which was all creamy, until he told her
she had to go to Africa for months on lo-
cation. Thereupon, she begged to be let
out of the deal. The price was right. The
script was slick. She was the girl for the
part, so they pressed her for the real rea-
son, and finally she revealed it. She was
in love. She was in love with a man who
wasn’t free, but she was too much in love
to leave him. An actress who is willing to
; give up her career for love is pretty
unique in film experience. Mr. Zimbalist
gave in, and hired the girl M-G-M had
been wanting him to take all along — an
unknown named Grace Kelly. You know
I that story.

As for Virginia, she still adores this same
handsome man and he still isn’t free, so
she still won’t leave London. But after
“The Barretts of Wimpole Street,” we sus-
pect she’ll be in the position of Gina Lol-
lobrigida. Producers will go to her.

j Sal's Sagacity: On a recent trip across the
Mexican border, Sal Mineo went into a
; store to buy his sister some Mexican jew-
elry. He picked out two bracelets, a pair
of earrings, and a necklace. The owner
said the price was eight dollars per item.
! Having been warned before he left Holly-
wood that prices below the border are
jacked up to allow for the customary bar-
gaining, Sal quickly said, “I’ll give you
i sixteen bucks for the whole kit and ka-
boodle.” This started a spirited game of
haggling until Sal got so confused and his
throat so sore from talking, he gave up. “I
still don’t know who got the better of the
! bargain,” says Sal. The End

NEEDLE NEWS

7113 — Stunning new apron, fashioned of
remnants in the form of a big beautiful
flower. Embroidery transfer, directions for
making this “flower” apron, 16 inches long

738 — Beginner-simple to crochet this lovely
new doily for your home. Your favorite
pineapple design. Crocheted doily 19
inches in cotton; smaller one to match

811 — Put scraps of any fabric to a thrifty,
pretty use — turn them into a colorful
patchwork quilt. Pattern, charts, easy di-
rections for large cover, 80 x 104 inches

7034 — Modern “helpers” for your house-
hold chores, pictured in easy embroidery
on kitchen towels. Seven gay motifs. Direc-
tions and seven transfers are included

837 — Make new baby a jacket, bonnet and
booties in a jiffy. Easy crochet in pretty
open and closed shell-stitches. Else white
with pastel color 3-ply yarn. Directions

Send twenty -five cents (in coin) for each pattern to: Photoplay, Needecraft Service,
P.O. Box 123, Old Chelsea Station, New York 11, N. Y. Add five cents for each pattern for
first-class mailing. An additional twenty-five cents ivill bring you the N eedlecraft Catalog.

THAT’S
HOLLYWOOD
FOR YOU

BY SIDNEY SKOLSKY

Bob Wagner has a favorite actor, but
no favorite girl, not even Debra Paget

Cyd Charisse has a strange method for mak-
ing sure that Tony Martin is an early riser

I admit that the fact that Elvis Pres-
ley was once an amateur boxer was
news to me when I read of it in the ac-
count of his brawl with the gas station
attendants. But it doesn’t stop me from
continuing to write what I know and
believe about Elvis. The latest is that I
believe Presley can be a prominent
screen actor, if he isn’t talked into tak-
ing acting lessons. To me, Elvis is a
cross between Mitchum and Brando. . . .
Marilyn Monroe and Jayne Mansfield
are rivals to play Jean Harlow in the cel-
luloid biography of that blonde bomb-
shell. Yet Jean Harlow couldn’t equal
either of them in the bosom depart-
ment. In those movie days, bosoms
weren’t important, imagine that! . . .
Whenever I meet the beautiful Patricia
Medina, I wonder why she isn’t cast in
important pictures. . . . Congrats to
Debbie and Eddie. Only last year I re-
garded them as children, and now they
have a child. ... I never got the mes-
sage that Diana Dors was an English
actress. She’s strictly the U.S.A. type
of hip chick — more so than many Holly-
wood actresses I could list. . . . They’re
making movies too long, regardless of
how good they are. . . Tony Curtis told
me his definition of a drive-in theatre:
Where some people will pay money not
to see a movie.

I don’t understand the so-called con-

troversy concerning Ingrid Bergman.
Several of her movies have been play-
ing on TV, with high ratings. No one
has objected to having Ingrid in their
homes, so why should they object to her
in a theatre? . . . Kathy Grant has a
cigarette case which has Bing Crosby’s
five Photoplay Gold Medal Awards set
in platinum.

I’m pleased Glenn Ford is beginning
to receive the praise long overdue
him as a performer. ... I recall Spen-
cer Tracy once telling me that he
learned more about acting while work-
ing with George M. Cohan than he
did from any director or dramatic
school. Well, only recently Bob Wagner
told me that he learned more about
acting while working with Tracy in
“The Mountain” than he did from any
director or drama coach. ... I can’t
account for the various actors who are
growing beards because they feel “more
comfortable and dignified with a beard.”
There’s Franchot Tone, Henry Fonda,
Michael Wilding, to cite a few. . . .
Whenever you meet her, Shirley Jones
gives the impression of having just
emerged from a bath. . . . Add Tab
Hunter to the ever-increasing group of
players, who, after having achieved
stardom, enroll in acting classes. . . .
Our good friend Mike Curtiz, during a

story conference, was told by a writer
that he was wrong. Mike came through
with: “Please don’t say that. Maybe I
don’t know when I’m right, but I al-
ways know when I’m wrong.”

Marlon Brando is now living by his
lonesome in his large house in the can-
yon, only he’s not lonesome. ... I want
to put it on the record that Tony Per-
kins was an excellent chauffeur. . . .
Tony Martin is an early riser and ex-
plains it this way: “I have a most con-
siderate wife (Cyd Charisse). She tip-
toes out of the room, right across my
face.” . . . “Here’s something I learned
about Hollywood,” Kim Novak told me.
“Once anyone decides on anything, it’s
indefinite.”

I get along fine with Frank Sinatra.
It’s not so much that I understand him
as that he understands me. . . . Natalie
Wood behaves and talks as if she were
a graduate of the Actors’ Studio. She
goes with fellows from that place and
some of it must rub off. ... I find that
on a set actors, old and young, will tell
you how great Jimmy Cagney is. He
represents a pro, a man who knows his
craft from every angle. . . . Tom Jenk
tells me Hollywood is where half of the
people are putting up a front for the
other half who are putting up a front
for them. That’s Hollywood for vou.

The Whole World Over

( Continued from page 32)

And that Pete, is what Japan — what any
country or any person, for that matter — is
like. To some extent we see our own
thoughts, our own reflections, wherever we
go. But as long as we question, as long
as we think — whether or not we agree —
we’re learning. So now I’m about to set
out to learn about Japan so that I can an-
swer all the questions I hope you’ll be
asking. Remember, I’ll worry the day you
stop asking questions. Your pal, Dad

Tokyo, Japan

Dear Pete,

Today down on the “Ginza,” which is
the Broadway of Tokyo, I saw a Japanese
mother in a kimono, with a beautiful,
black-eyed baby strapped to her back,
staring in a shop window, watching TV.

That answers your question about East
meeting West. Yes, today the East and
West are meeting here wherever you look.

You may be surprised to know that the
Japanese are very sportsminded. For in-
stance, Sumo wrestling is pretty spirited
stuff. The rules state that one of the
wrestlers wins when he throws the other
bodily out of the ring! And when it comes
to rooting — and rhubarbing — the Japanese
are great baseball fans. The New York
Yankees are even bigger heroes over here
than at home.

Tokyo today has all the sounds and
rhythms of both the present and the past.
You see and hear and feel all around you
the softness of Japan. The softness and
the music of its voices, the cherry blos-
soms, the sampans floating silently along
| the canal. You hear the cry of the noodle
vendor, the sound of a flute in the still
of the night, the thundering rush of the
subway, and the clickety -clack of wooden
sandals pulling a rickshaw.

Yes, they still have a few rickshaws
here, Pete. But I have no desire to ride
( in one. I’ve refused to ride in them or be
photographed in them. I don’t like to see
any man pulling another man. There is a
respect for human dignity which we must
honor wherever we are, regardless of the
|| “style” of living in any particular land.
I hope you’ll remember that always. Your
pal, Dad

Kyoto, Japan

Dear Pete,

Youngsters in Japan are really on the
move! I’ve never seen so many young
sightseers. They begin to know their
country at a very early age. We’ve been
in Kyoto a few days, filming interiors for
“The Teahouse of the August Moon” at
the Daiei Company Motion Picture Studios,
and every day new groups pour in.

The children travel in student groups of
from twenty-five to 200, with their teachers
in charge. The boys are dressed in their
dark blue school uniforms, with brass
buttons. They wear little billed caps. All
the girls wear standard blue-skirt-and-
blouse outfits.

They’re spilling out of trains and buses
every day, each of them carrying a little
bag, and each with a stamp book care-
fully in hand. Youth hostelries — hotels
for boys and girls — are a big thing over
here, and every hostelry has its own
stamp. The children take great pride in
their collections and some of them have
stamps from all over Japan. You see
the youngsters marching along the cob-
blestone streets, singing as they march.

They go to Mount Fuji and to Tokyo.
They go to Nara and its Todaiji Temple
to see the famed Diabutsu, the biggest
bronze Buddha in the world. They watch
the women dye silks and rinse them in
the river. Before a boy has reached his
fourteenth birthday he’s often traveled the
length and breadth of Japan. He’s studied
and visited every important city and he’s
developed a great sense of pride in his
country and its traditions.

I was thinking as I write this, Pete, what
a wonderful thing it would be for chil-
dren in our country to take sightseeing
tours like these. How great it would be
if every boy and girl could visit New York
and Washington, D. C., Mount Vernon and
the Alamo, if they could explore all our
places where the greatness that is Amer-
ica was made — and is still being made to-
day. Your pal, Dad

Nara, Japan

Dear Pete,

Age in any foi’m is at home here in
Nara, and considering that today is my

birthday, and I’m beginning to feel a little
antique, this is just the place to be.

Nara is thirteen centuries old, the old-
est city and the first capital of Japan, and
a treasure-house for the country’s arts,
literature and history. We’ll be on loca-
tion here for “Teahouse” for several
weeks. M-G-M has built an Okinawan
village right in the middle of a rice paddy
about forty minutes drive from town.
We’re using one hundred of the local peo-
ple to portray Okinawans, and have twelve
interpreters working with us. But lan-
guage is no barrier here. The Japanese
are so anxious to help us, so eager to
please and to understand.

This I have learned in traveling, Pete:
There is no actual language barrier be-
tween any people away from home. And
certainly this is true in Japan. With a
pleasant smile and a sincere “Thank you”
you can travel anywhere in this world.
“Domo Arigato,” which means “Thank you
very much” in Japanese, is the most im-
portant phrase to know here.

Speaking personally, the only time
there’s any language barrier is when I’m
trying to order a hamburger! Don’t be
surprised if we have nothing but ham-
burgers to eat for the first few weeks after
I come home. I’m so hungry for them!
I’m afraid a pleasant smile and a sincere
“Thank you” hasn’t helped me to explain
what a hamburger is over here. I tell
them it’s ground-up meat cooked in the
form of a patty — and they cook me a
beautiful steak, then very carefully grind
it up. I go through the whole bit again
and I’m pretty sure I’ve made myself un-
derstood— and they cook another steak
and then put it through the chopper. I’ve
been getting more hash this way!

But that sort of thing is the exception
rather than the rule, and it hurts them
far more than it hurts me. Our Japanese
friends are very embarrassed when they
can’t understand you. They feel that
they’ve failed terribly. If I order a boiled
egg at the hotel and our little waitress,
Suziko, brings it fried, she’s mortified.
She laughs, but only because of a com-
plete sense of bewilderment, and the
laughter is very near tears.

The Japanese are a very sensitive peo-
ple, Pete, far more sensitive than we have
often supposed. They may not, for ex-
ample, be able to say “Happy birthday”
the way we would say it in English, but
they know well enough what it means.
And what it means to have a birthday far
from home.

Today many of the Japanese sent me
black-edged cards of sympathy! With
their wisdom and sensitivity, they inter-
preted this not as a happy but as a “sor-
rowful birthday,” because I am so far
from my family.

It was very touching and thoughtful of
them, and no command of English could
express it more fittingly. Your pal, Dad

Nara, Japan

Dear Pete,

Today is “Boys’ Day” in Japan. This is
an important national holiday, and in my
opinion it should be an international one.
We have Mother’s Day and Father’s Day,
why not Boys’ Day? I’m all for that.

The carp fish, or koi-nobori, as the Jap-
anese call it, symbolizes great courage.
And so carp-shaped streamers fly from the
rooftops on Boys’ Day here to symbolize
the strength and courage of all sons, and'
to encourage manliness and determination
in overcoming all of life’s difficulties.

At this hour the sky around Nara is
alive with carp streamers “swimming”
from the bamboo poles. There are big

Movie assignments have taken Glenn Ford to many exciting places, but they can
never match the happiness and contentment he finds at home i vith his wife, Eleanor

becoming

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ones in red and black, and white for the
eldest sons, and there are small salmon-
colored carp for the younger ones. In
some yards there are several carp flying,
one for each son.

We Americans are celebrating “Boys’
Day,” too. Since Danny Mann and Eddie
Albert both have their young sons with
them, we have two carp streamers flying
proudly from the top of the flagpole out
in front of our hotel!

I wish I could hoist one for you, but
well have our “Boys’ Day” when I come
home. Im bringing you a whole school
ot carp, including a fantastic black one.
I have no idea how a fifteen-foot black
hsh will look flying from the yardarm in
Beverly Hills, but we’ll fly it anyway. We
shall probably be taken in for piracy —
Long Glenn Silver” and “Pete the Creep”'
Your pal, Dad

A0lir fi£ger,s and tries to catch your thumb.
And there’s a wonderful game for two
people played with a forty-foot rope. You
stand twenty feet apart and try to pull
your opponent off-balance. You tighten
the rope, then release it suddenly, and the
other guy tumbles on his back— you hope,
this is a great game for getting into shape
tor my job as assistant scoutmaster of
your Boy Scout troop.

Incidentally, you are now an honorary
member of Scout Troop No. 4 here in Nara
and theyve given me a special scroll to
present to you. At the same meeting of
ocouts in this area, they made me an hon-
orary member of the Far Eastern Council
ot Boy Scouts, which takes in Okinawa,

r^p.a9n and the, Philippines. How about
that? Your pal, Dad

Dear Pete, Nara’ Japan

^ had dinner with my “adopted
son. To adopt a member of another
lamiiy is an old Japanese custom, I find,
and I m not just clear who has adopted
whom, but every morning little Harashi
Jn-o is out on the set of “Teahouse”
bnght and early, and he spends the en-
tire day with me.

Harashi is eleven years old— just your
age— and we’re becoming very good
friends. He s a fine boy with a shiny
round face, bright black diamond -shaped
eyes, short-short hair, and he’s always
smiling. He calls me Ford-san, which is
the respectful manner of speaking over

Tonight Harashi invited me to have din-
nei with his family, and I know you
would like to hear about this in detail.

When we stopped at the little bamboo
and rice-paper house, the whole block
where Harashi lives turned out to wel-
come me, each of them bringing me a gift
a lCfu°r nraw tuna or something like that.
At the door of the hut Harashi’s mother
asked me to remove my shoes. She set
them carefully outside the door and invited
me to come on in and sit down— on the
hoor As is customary in Japanese houses,
the floor was covered with a thick straw
mat, called a tatami, and you sit on cush-
ions, called zabuton. You eat on little
teakwood tables about a foot-and-a-half
°r dl£\fl1°,0r’ and it’s traditional to cook
at the table. Each item is prepared on a
hot brazier right in front of you, and be-
tween courses they give you a hot cloth
with which to wipe your hands.

First they served green tea and brown
rice-cakes wrapped in seaweed. Then
came tempura, shrimps of a magnificent
size dipped in a batter and fried. With
it they served fried vegetables— string-
beans squash and sweet potatoes— all
Ti,rVe^i,lri e basket made of grass.

Jb? 7holt b,askef is dipped in a batter
and french fried, and when you finish
eating the fish you eat the basket, too!
Believe it or not, fried grass is very good
But we were still not through. Thev
served raw red tuna and a big bowl of

wffhmed7, W^lte ric<T This was followed
with sukiyaki, which is strips of lean beef

which you dip in raw eggs. The whole
thing is prepared in a chafing dish with
onions bamboo shoots and other green
vegetables. For dessert there were man-
darin oranges, tiny little things served in
sections.

After dinner they played games. While
at hrst sight these games may seem strange
to us, they become intriguing as you grow
used to them. In Japan they specialize
in games which test physical strength or
muscular coordination, and in one they
played tonight a girl balanced a plate with
a pipe on it on her head. There’s a hand
game in which your opponent holds two of

Dear Pete, Nara’ Japan

, Nara is a, national park, and there are

hundreds of tame deer roaming around

so tame they come up and feed right out
of your hand. The deer are regarded as
divine messengers” here; they’re pro-
tected by the priests, and every evening
a priest comes out and plays the trumpet
then d®er in- It’s a colorful sight,
with hundreds of deer answering the
trumpet, hurrying to their pens.

,'fhe Japanese are very religious, Pete,
Bithough some of their devout expressions
°t faith may seem a little strange to us
at hrst because we worship differently
During the commemoration of Buddha’s
birthday small images of Buddha are
displayed in public, and a tea called
amacha is poured over them with tiny
ladles, to express the devotion of the
Japanese. During the famous Hollyhock
Feshval the leaves of the hollyhock are
shrinks t0 ®°dS and goddesses in their

The Water-Drawing Festival is a time-
honored religious rite here, too. This be-
gins m the temple at midnight, with the
ceremony of the Otzimatsu, or Big Torch
during which torches measuring thirty
lghted and young priests brand-
ish them in firebaskets, shaking off the

iP16C<lS' i • The bekevers rush for
the hreflakes, believing them to have magic
power against evil. At two a.m., to Hie
accompaniment of ancient music, the priest
draws water from the sacred well.

Every day I see children going to pay
b^age- They go to the temple® ring a
little bell, and give offerings of lotus
blossoms to the Great Buddha.

Seeing these things makes me feel more
strongly than ever that to believe, to have
taith, whatever form that faith may take
fS -uk6 ™p°rtant thing. Someday that same
taith that moves mountains may move
men closer together again. Your pal, Da<"

Dear Pete, Nara> Japan

Today, something happened to me which
brings to mind talks you and I have had.
,, Tbls morning, driving out from town to
the Teahouse set, we passed a very old
Japanese man who’d fallen by the side of
the road. His face was very gray and you
could tell by looking at him that he was
desperately ill. We stopped the car and
I went over to see about him. But, ill as
he was, something in the old man’s eyes
stopped me, told me that he wanted no
help from me.

The driver said we must leave him alone
and drive on. “But we can’t just leave
him here like this,” I said. “At least we
can elevate his head, make him more
comfortable.” But the driver insisted I
must do nothing, not even touch him.

You see, to help him was the American
way, but not the Japanese way, Pete. Even
if he were in danger of dying he would
not want my help. He would then feel

indebted to me— a debt he would never
be able to repay. This would mean loss
of face and to him that would be worse
than anything.

Sometimes it’s hard for us to under-
stand another man’s way. Or another na-
tion’s way. Just as it’s sometimes hard
for children to understand another child’s
way. You and I have talked about how
cruel children can be, ridiculing or criti-
cizing some kid who’s different from their
own gang, who may dress differently or
speak differently. You’ve never done this,
and I’m sure you never will.

Human nature being as it is, we are
sometimes tempted to ridicule or criticize
something we don’t understand, some-
thing which is different from our own ac-
cepted way. This can be very serious and
can lead to intolerance of those who are
of a different color, a different religion, or
a different economy.

The world is full of all kinds of people,
and they aren’t all people like Glenn or
Peter Ford. If we want them to respect
our way of life, then we must respect
theirs. Your pal, Dad

Nara, Japan

Dear Pete,

We’ve been having so much “unusual
weather” here that we’re breaking up
camp and coming home!

Now that we’ll soon be saying “Sayo-
nara” — which means goodbye in Japanese
— I can think of so much I’ll miss.

I’ll miss all the sounds — of the shutters
closing at night, the tinkling of the wind-
bells, and the constant clickety-clack of
wooden sandals going up and down the
cobblestone streets. And I’ll remember all
the beauty that is Japan’s.

But most of all I’ll remember the peo-
ple, their gentleness and their generosity.
Our Japanese crew on “Teahouse” cried
unashamedly today on the set when we
had finished the last scene. We have be-
come very close, working together during
all this time. They just stood there look-
ing at us and saying “Sayonara,” with
tears in their eyes. I can’t tell you, Pete,
how moving it was.

And there’s little Suziko, the waitress
at the hotel, who’s been wonderful to us.
This morning she handed me a note, very
carefully written in English, saying she’d
like to see me. “I see you out front,” she
said, and darted away.

As I was leaving the hotel, Suziko sud-
denly appeared from nowhere and handed
me a package. “For my Tomo Dachi,”
she said, meaning “dear friend.” I opened
it, and there was a beautiful geisha doll
which must have cost all of 3000 yen.
That’s two weeks’ salary, a lot of money
for a little girl who’s just fourteen. But
you can’t refuse to take it. That would
be the worst thing you could do.

Suziko’s concern was what would hap-
pen with it. “Where you keep doll?”
she wanted to know. I told her that I
would put it in a very honored place
where I would see it every day. Then
she skimmed away down the path.

When I’m at the other side of the world,
back home with you, Pete, I’ll remember
many things. And whenever I think of
the gentleness of Japan, I’ll think of a
little girl named Suziko, who’s the symbol
of all the lovely children over here.

I’ll remember all the scenic splendor of
the Orient, the mountains, the temples,
the pagodas, the cherry blossoms and the
old,, old beauty everywhere. But you
don t find the true beauty of this country
in travel folders. The beautiful thing you
can’t take pictures of is the beautiful heart
these people have. See you soon. Your
Pal> Dad- The End

Look for: Glenn Ford in “Teahouse of the August
Moon.”

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( Continued from page 41)
or three of the whole group we grew up
with and worked with haven’t turned out
as drunks, neurotics or bad-check passers.”

Judy’s father died the year she was
signed by M-G-M. Her mother, Mrs.
Gumm, was then put on the studio pay-
roll, and began to use the studio as a
disciplinary threat in place of Judy’s
father. This was to have a lifelong effect
on Judy’s emotional make-up and to color
all her later relationships with M-G-M.

“You behave, Judy, or I’ll tell the studio
on you,” Mrs. Gumm would say. Judy
became afraid of “the studio,” the place
where she spent most of her waking time.

“There were thumb screws inside me
every time I walked on the lot,” Judy said
recently, recalling those years.

“The atmosphere at M-G-M was one of
terror. My life for a time was full of fear.
Going into the studio was like going to
a haunted house every day.”

What was it like to have a major mo-
tion picture studio for a parent? If one
incident can be cited as an example of a
blow from within, here it is:

Judy made twelve pictures in her teens.
She had to dance, cry and act before
the cameras, in addition to singing. Like
all professional children under contract
to a major studio, she also had to sand-
wich in six hours of school every day.

The only thing Judy could do that she
liked was to eat. At every meal she
stuffed herself with all the food she could
cram in, sneaked in double malts between
scenes, nibbled on chocolate bars at
school — and gained weight. Finally an
M-G-M executive sent for her.

“You look like a hunchback,” he told
her. “We love you but you’re so fat you
look like a monster.” Judy tried to smile
through the tears, then ran. At the time
she was called a monster she was vio-
lently in love with Clark Gable.

After this incident a humiliating direc-
tive was sent down from the front office.
No matter what Judy ordered for lunch
she was to be given only a small bowl of
consomme. The studio’s attitude is com-
pletely understandable. They had a movie
star under contract, a movie to be made,
millions of stockholders’ dollars tied up
in it. They were completely sympathetic
with Judy’s emotional problems — problems
which she tried to solve with the tem-
porary relief of overeating. On the other
hand, Judy had contracted to make a pic-
ture and the picture had to be made.

From then on lunch time became a
cruel game for Judy. Hungry from work-
ing hard all morning, she would go to the
studio commissary, sit at a table by her-
self and order a full meal. The waitress
would take the order, then return with a
bowl of broth. Judy would smile brave-
ly through the tears and sip her lunch.
She always ate alone.

And, while sipping her lunch, Judy
more than once would overhear someone
in the commissary point her out as “that
little girl they were stuck with when they
let Deanna Durbin go.”

Judy was famous and a star but she was
miserable. A friend described her as
a “toy money machine which could be
wound up and set to work in the morn-
ing, turned off at night, and put on a
shelf just like any other toy. She was
never treated as a person.”

Once, Judy’s older sister, Suzanne,
brought her small daughter out to the
p studio for lunch. “Isn’t it wonderful?” said
Suzanne. “I’d like my little girl to be
a movie star, too.” Judy almost screamed
at her. She pounded the table and yelled,

“I’ll break your neck if you ever bring the
child to the studio again!”

That was one of the first indications
that the pressures were forcing a crack
in the pottery of Judy’s personality.

Judy’s friends insist that she never
wanted to be a movie star at all. She
merely wanted to sing. But from the be-
ginning Judy’s pictures were big spec-
tacles, requiring long rehearsals and re-
cording sessions, dancing and acting as
well as singing. Judy threw herself com-
pletely into everything she did. Even in
those days she was a perfectionist and
gave it everything she had.

A director who knew her then said,
“Judy should have done just one scene
a day, then taken an ambulance home.”

Once, while doing a dance routine, she
almost collapsed. “I’m so tired and I’m
so hungry,” she gasped to the director. He
replied, “Do this routine again and you’ll
forget you’re hungry.”

Judy got tired from overworking and
undereating. To keep herself going she
started to take a stimulant called Benze-
drine. Then she had to take sleeping
pills to counteract the Benzedrine and let
her sleep, then more pills to wake her up.
Judy says of this time, “I lived on bolts
and jolts.”

The sleepless nights and hungry days
began to have a telling effect on Judy. She
became nervous, irritable and ill. One day
she didn’t show up for work and the en-
tire studio was in an uproar. For the first
time in her life Judy began to realize
that she was something of a personage.
She was genuinely ill, but she found that
people considered her illness “tempera-
ment”— a not unusual occurrence in Holly-
wood. Though annoyed, people really
began to pay attention to her, and Judy
began to bask in the realization that she
was, at long last, important.

Coupled with the weakening of her
physical structure she had discovered a
test which enabled her to learn if people
really cared for her. Like a child who
thinks herself unloved, Judy began to kick
up her heels just to assure herself that
everyone loved her.

A psychiatrist would call this an infan-
tile regression, a search for the affection
she missed as a child. The diagnosis would
probably be accurate. After her father’s
death Judy spent most of her time search-
ing for the affection and attention that the
corporate entity which had, to all intents
and purposes, become her parents was
unable to give her.

The crack was getting larger.

By the time Judy was sixteen she had
become a singing workhorse. She threw
herself into every production with her
whole heart and body and as a result was
burned out after every picture. Between
pictures she rested by reading scripts for
her next one.

“They never gave me a rest,” she com-
plains now of those years. “I went from
picture to picture. They would promise
me a six-month vacation, but after I had
been away a week or two they would call
me back again.

“I’d start a new picture, then break
down. There would be rows and sus-
pensions. We would try to straighten
it out, but when I went back to work the
whole thing started over again.”

We must remember that Judy’s studio
was faced with the fact that they were
dealing with an emotionally sick and ex-
hausted person — one who refused, like
the fighter she is, to lie down.

By now, Judy was beginning to realize
that her life was no longer her own. Even
worse, she earned $5,000 a week, later

$150,000 a picture, but had nothing to
show for it. Her mother had been ap-
pointed guardian of her money, but most
of it was spent as fast as it came in. How
much was spent on legitimate living ex-
penses for Judy and how much might have
been unnecessary extravagance is some-
thing that was later to be investigated
through legal procedures. Meanwhile, all
Judy had to show for the large sums she
had earned was a small trust fund which
the courts had insisted be put aside.

Judy exhausted herself trying to keep
up with Mickey Rooney, the Whiz Kid of
movies. She became a big star herself
with “The Wizard of Oz.” In 1939, when
“Oz” opened in New York, she went with
Mickey to make a personal appearance at
the Capitol Theatre.

They broke records doing six and seven
shows a day at forty-five minutes a show,
with only forty minutes between each ap-
pearance. One day, as they finished the
act and went off stage, Judy collapsed in
the wings. She had been working too
hard and too fast without letting up.

Judy had hit emotional high gear. It
was at this point that she met David Rose,
the composer and orchestra leader. He
was serious, preoccupied and older

Everyone in Hollywood has a theory
about why Judy married him. Most peo-
ple think it was rebellion against work.
Some say she thought orchestra life would
be more Bohemian and fun. Judy says
simply, “He was good to me.”

The marriage was short; it lasted only
four years. As compensation for her
unhappiness Judy again turned to food.
M-G-M rightly insisted she lose weight.
Extreme in everything she did, Judy took
to starvation diets of black coffee and
cigarettes which, coupled with work, ex-
hausted her even more. The answer: more
stimulants, more sleeping pills.

By 1945 Judy was no longer employ-
able. She was world-famous, hungry,
sleepy, divorced and unhappy, and she
held up productions, a cardinal sin in
Hollywood. She dropped out of “The Bark-
leys of Broadway” and was replaced by
Ginger Rogers. That night she stayed at
M-G-M, crying in her dressing room,
protesting that no one loved her.

But a week after her divorce from David
Rose she married director Vincente Min-
nelli. This marriage lasted on and off for
nearly six years.

Suddenly Judy began to have a strong
feeling that she must be alone, that she
didn’t want to see any people at all. After
her daughter Liza was born she was in
a weakened condition, and her prodigious
appetite left her for the first time. She
lived on nervous energy and doctors’
prescriptions.

When Hedda Hopper visited her on the
set of “The Pirate,” Judy took the colum-
nist into her dressing room and went into
a frenzy, saying everyone was against
her, that she had no friends. After that
she began to fail to show up for work—
and was suspended.

She pleaded with M-G-M to let her
work, so they gave her “In the Good Old
Summertime.” She finished it on schedule
and the studio rewarded her with its
biggest picture, “Annie Get Your Gun.”

The director, Arthur Freed, had been
with Judy in the old days, but she de-
manded he be replaced. The nerves and
exhaustion were showing again. She re-
corded her songs, then started rehearsals.
One day at lunch hour she went home and
didn’t return. The studio announced that
she had been suspended and Betty Hut-
ton was signed to replace her.

Judy was broke, off salary and jobless.
She was convinced nobody cared for her.

She was twenty-seven years old when
the first big crack appeared. A person
can crack in many ways: in the head, in
which case the power of decision is taken
away from you by others; in the body;
or in the nerves. It was Judy’s nervous
reflexes that gave way, the result of too
much work and too many tears.

Now the studio once more assumed the
role of parent. Louis B. Mayer, head of
M-G-M, sent her to Peter Bent Brigham
Hospital in Boston and paid the bill. Carl-
ton Alsop, the man Judy calls “Pa,” recalls
her convalescence: “I used to take her
out for trial runs, to baseball games, to
see how she reacted. Then, I’d take her
shopping. There was always a car handy,
so that if she had a relapse we could rush
her back.”

While in Boston, Mr. Alsop took Judy
to a little summer theatre. When the word
got around that she was in the audience,
the cast asked her to join them in a fare-
well party backstage. Judy accepted.
After the paying customers had gone home
the cast serenaded Judy from the stage,
then asked her to sing to them.

She turned to Mr. Alsop and asked,
“Pa, do you think I have any voice?” He
told her she still had the best voice in
show business. He told her to try sing-
ing. She did — and sang for forty minutes.

“Judy found she hadn’t lost her voice,”
Mr. Alsop recalled. “It was medicine she
couldn’t get in the hospital.”

Judy stayed in the hospital eleven
weeks, at last started to sleep regularly,
and gained weight.

Then the studio called her back for
“Summer Stock,” produced by Judy’s old
friend, Joe Pasternak. Again she was
“too fat.” In addition, she wasn’t well
enough to be working, but she needed
the money and the studio needed her, so
she raced to reduce before going back on
the set.

To help in the dieting Judy once again
started on pills — first to reduce, then to
help her sleep and forget the pangs of
hunger. One day she failed to show up
for work and was threatened with sus-
pension. She was told there were three
million dollars riding on her and that she
was being temperamental and selfish.
Studio people were given orders to watch
her every minute. A specialist was flown
out from Boston to be in readiness on the
set “just in case.”

Somehow Judy finished “Summer
Stock” and, although promised a vaca-
tion, went right into “Royal Wedding.”
This one she never finished. One Satur-
day morning she failed to show up. The
studio called four times and was told she
was on the way, but she never left home.
The studio suspended her and announced
Jane Powell as her replacement.

In the presence of four friends, includ-
ing Mr. Alsop and her husband, Vincente
Minnelli, Judy tried to cut her throat. It
was a feeble attempt, but to Judy it rep-
resented something.

She said, “All I could see ahead was
more confusion. I wanted to black out
the future as well as the past. I wanted
to hurt myself and everyone else.”

Judy had reached the bottom of her
emotional reserve. She had mortgaged
herself physically and spiritually. But
the response of her fans was amazing. She
received hundreds of telegrams from fans
wishing her well. The only one she saw
was one from Freddie Finkelhoffe, the
songwriter, who said, “Dear Judy. So
glad you cut your throat. All the other
girl singers needed the break.”

Mr. Alsop, who received the wire, took
it in to Judy. She laughed hysterically

at it. “They still love me, don’t they,”
she said to Alsop.

Katharine Hepburn came by while Judy
was convalescing and delivered a long
speech about how important Judy was,
not only to herself, but to those to whom
she had brought so much pleasure.

Judy listened quietly and then made up
her mind to get back on her feet. “I
grabbed my daughter, Liza, and moved
into a seven-room suite at the Beverly
Hills Hotel,” Judy recalls. “When we
had been there a few weeks and I thought
they might start asking about the bill, I
packed a couple of cases, dashed down to
the desk and told them I had just been
called to New York and would they save
my suite for me.

“It was a big bluff, but they never
thought to question it. We flew to New
York and I did the same thing there. Of
course it was mad, but it was the first
real fun I had had in my life. I had
worked like a dog and I was broke — but
I was beginning to be happy. I was free.”

The crack in her personality was being
mended.

In New York Judy did all the things she
had never been allowed to do before. She
stuffed herself with food, went window-
shopping, went to bed and got up when
she pleased.

COMING YOUR WAY
IN FEBRUARY PHOTOPLAY:

★ Clark Gable

★ Debbie and Eddie

★ Rory Calhoun

★ Jayne Mansfield

AT YOUR NEWSSTAND JANUARY 3

The long-term contract with M-G-M
was dissolved at Judy’s request. This left
her alone, separated from her mother, who
Judy felt had let her down, and on the
verge of divorce from Minnelli.

Her reputation for unpredictable — and
expensive — behavior was so widely pub-
licized that no producer wanted to take
a chance on her.

Judy tried to run away from herself
and Hollywood by going to Europe, where
she ate herself into obscurity. When she
returned to Hollywood a year later, all
washed up at twenty-eight, she met Sid
Luft at a party. It was Luft who sug-
gested she regain her confidence in her-
self by opening at the London Palladium.

Then Judy began the weary trudge on
the long road back. If there are pressures
which can crack, there are also incidents
which can heal. Sometimes the person is
the stronger for having broken and been
patched together properly.

On the night of April 10, 1951, when
Judy Garland opened at the Palladium, she
began to patch herself up. Here for the
first time is her story of that night. She
said:

“The night before the opening I didn’t
sleep a wink. I was terror-stricken. At
daybreak I was pacing up and down my
hotel room, almost out of my mind with
panic and fear. I kept rushing to the
bathroom to vomit. I couldn’t eat, I
couldn’t sleep. I couldn’t even sit down.

“When they finally got me to the dress-
ing room I was only half-conscious. I
hadn’t worked at all for almost three
years, and had given a show in public
barely once or twice since I was a kid.

“There were only minutes left. I had
to get hold of myself. I said to myself,
‘What’s the matter, you dope? If you
don’t cut this out you won’t be able to

sing. Don’t worry. They won’t eat you.’

“Standing in the wings, waiting to go
on, I became paralyzed. My knees locked
together and I walked on like a stiff-legged
toy soldier. And after a while, without
knowing how it had happened, I found
myself, not standing on the stage, but
sitting on it. It was said I tripped over a
wire or a loose board. That’s not true. I
didn’t fall at all, really, I just collapsed.

“The fall happened after I had sung
two or three numbers. I was trying to
take a bow. I just went ‘Ugh’ and sat
down. I sat there and thought, ‘Damn
this.’ I looked up at Sid, who was hang-
ing out of a box, screaming, ‘You’re great,
baby, you’re great!’

“Somehow I got back on my feet, lurched
back to the wings. I remember thinking,
‘That’s it. Judy falls on her can and
that’s the end of the great comeback.’

“I was ready to quit, but my old friend
Kay Thompson was waiting at the side
of the stage. She screamed, ‘Get back
there. They love you.’ Then she gave me
a hug and a shove that carried me back
almost to the center stage.

“Instead of giving me the bird, those
wonderful British people clasped me to
their hearts. I unlocked, and everything
I wanted to do came surging out. All the
bad years went. It was like being reborn.
It was like being given a new life to start
all over again.”

Later that year, Judy brought vaude-
ville back to the Palace Theatre in New
York. She was overweight again and,
naturally, she collapsed from overwork.
But she rested a few days and returned
to enjoy a record-breaking run of nine-
teen weeks. Night after night, audiences
called out the old refrain, “Judy, we love
you.”

Sid and Judy brought the show to Los
Angeles and another tearful, thrilling tri-
umph. That spring she and Luft were
married.

At long last it appeared that Judy had
lived up to the words of her most famous
song. Somewhere, over the rainbow, she
had found happiness. The happiness was
short-lived.

Judy’s relations with her mother broke
into court. Her mother had married a man
named William Gilmore, whom Judy did
not admire. It has also been stated that
Judy felt her mother had mishandled her
finances.

Mrs. Gilmore went to court to complain
that Judy would not support her. She
took a job as a sixty-dollar-a-week clerk
at Douglas Aircraft. Judy’s friends, who
recall that Mrs. Gilmore was a first-rate
piano and singing teacher — she taught
Judy, among others — thinks she took the
job just to embarrass her daughter.

Judy’s daughter, Lorna Luft, was born
December 8, 1952. Less than a month later
Judy’s mother fell dead in a Los Angeles
parking lot.

Judy, who had thought she was better,
cracked like an old plate when she heard
the news. For two years she was “in
sanitaria” — her term for psychiatric treat-
ment. She did no work, saw very few
people. When she finally emerged it was
to make “A Star Is Born” at Warners.

Hollywood biographer Cameron Shipp
notes that she “approached this as fear-
fully as a child in the dark.”

“She was terrified,” said Sid Luft. “She
hadn’t made a picture in nearly four
years. She thought she was through,
washed up, all over again. That’s why
she made that picture so difficult.”

And difficult it was. Cary Grant, who
was all but set as Judy’s leading man, was
replaced by James Mason; five cameramen
and four costume designers walked off or
were fired from the job; a musical ar-

ranger left in a huff; the set was closed to
the press for most of the shooting; the
budget, first estimated at $2,000,000, was
more than doubled; and the picture had
the longest consistent shooting schedule of
any picture in recent Hollywood history.

Judy said little other than that she is
a perfectionist, George Cukor, the director,
is a perfectionist, and so is Sid. “We had
to have it right. We had to take time. Of
course, there were rows and friction. There
is in every picture that’s worth anything.
We all did our share, but I was the bull’s-
eye in the target and everybody aimed
straight at me.”

When the time for the 1955 Oscars came
around, everyone was certain Judy would
get the Best Actress award for her per-
formance in “A Star Is Born.” She did
not. Grace Kelly won it for her work in
“The Country Girl.”

A few hours before the award was an-
nounced, Judy was in the hospital giving
birth to Joseph Luft, her second child by
Sid. Everyone said her failure to win
the Oscar would crack her wide open — for
once and always.

Surprisingly, it didn’t. Somehow Judy
had repurchased the spiritual and physi-
cal mortgage she had given in exchange for
stardom as a child. At last she had
inner resources to draw on. One such re-
source was humor.

With mime and words she tells of the
hospital scene the night she found out
she hadn’t won the Oscar.

“Just picture it,” says Judy. “There I
was, weak and exhausted after the battle
to bring Joe into the world. He wasn’t in
such good shape, either; at that moment
doctors didn’t give him better than a fifty-
fifty chance.

“I was lying in bed, trying to get my
breath back, when the door burst open and
in came a flock of television technicians.
I already had a TV set, but they dragged
in two more huge ones. I asked what they
were for and they said that after I got the
award I would have to talk back and forth
to Bob Hope, who was emceeing.

“They strung wires all around the room.
They put a microphone under my night-
gown. They frightened the poor nurse to
death when they told her, ‘If you open
that window while the show is on we’ll kill
you.’

“Then they built a four-story-high tower
outside the hospital, for cameras which
were to focus through the window. What
with all the excitement and everything,
they got me all worked up, too. I was flat
on my back in bed, trying to look cute.

“I was all ready to give a performance.
Then Bob Hope came on the screens and
said Grace Kelly had won.

“I’ll never forget it to my dying day.
The technicians in my room said, ‘Kelly!
Aah,’ then started lugging all the stuff out
again. You should have seen the looks on
their faces as they tramped out • with all
that gear. I really thought I would have
hysterics.”

Sid had brought three bottles of cham-
pagne and a dish of caviar with which
to celebrate with Judy after she had won
the Oscar. When the TV men had gone
he said, “How do you feel?” Judy said,
“Disappointed.”

That night they sat alone, sipping the
champagne and eating the caviar. But
Judy remembers the night with a smile
and that has a twinkle — not hurt — shining
through.

Judy seems at long last to have learned
to live with herself. That doesn’t mean
she has become people-broken and docile.
She still is a perfectionist, who insists on
absolute perfection in everything she
does. And, she still needs to know that
everyone loves her.

In September, 1955, for example, while
she was rehearsing for her first tele-
vision appearance, the director, Paul Har-
rison, called all of the technicians into
a huddle. He told them about Judy. “She’s
a child,” he said. “If you mention that
her nose is shiny she’s likely to walk off
the set and not go on at all. Be careful
of everything you do and say around her,
but remember that she’s one of the great-
est talents any of you will ever work with.
For the next four days keep that in mind
and love her. If you do nothing else,
make her know you love her.”

Despite the pep talk, rehearsals for the
show were not all smooth. Judy came late,
keeping three color-camera crews idle at
$1,200 an hour. It took six hours to film
two 20-second promotion teasers for the
show, which normally should have been
done in fifteen minutes. Even on the day
of dress rehearsal, Judy was forty-five
minutes late.

But the ninety-minute Ford Star Jubilee
for CBS-TV had the largest viewing au-
dience ever to watch a spectacular. For
CBS-TV, the end justified the means. And
that, to a large extent, is the story of
Judy’s professional life.

Ever since she was a child, people have
put up with Judy’s erratic behavior be-
cause they believe talent is a law unto
itself. And as long as she continues as
one of the world’s great attractions she’ll
be judged by a unique set of rules.

Last summer, Judy completed a five-
week run at the New Frontier Hotel in
Las Vegas, where she made her night-
club debut. She was paid $35,000 a week,
while the hotel paid an additional $20,000
a week for the orchestra and other acts.
The previous high for an entire show had
been $50,000 for Liberace. Judy insisted
on being the highest-paid entertainer. Her
thinking was, “if they want me they’ll
have to pay me,” and the fact that they
were willing to go so high proved to her
that they truly did want her.

As always, she missed performances and
made irritating demands of the hotel pro-
prietors, but she brought in large enough
crowds to give the hotel a profit.

Judy wanted to play in Las Vegas for
the most elemental reason. She said, “I
have to get money to pay off back taxes.”

Despite the fact that she is one of the
world’s greatest entertainers she is al-
most broke. Although the Lufts live in a
big home, it is virtually unfurnished; for
a big star Judy has a remarkably small
wardrobe; and she and Sid have no money
in the bank. Today, all Judy has to show
for sixteen years at M-G-M is a scarred
psyche, a paid-up $100,000 insurance
policy and a pitifully small income from
the one investment left over from her
childhood.

Even without material things the Lufts
seem happy. Their entire home is planned
to permit their children — Lorna, 4, Joseph,
21 months, and Liza, 10 — to have freedom
to play. The extensive outside grounds
are covered with playground equipment
and children’s toys. There is no swimming
pool because it would be a menace to the
children.

“We haven’t bothered to furnish the
house completely,” Judy says. “We be-
lieve the house should grow with us. We
aren’t through growing yet and neither is
the house. If I have my way (despite
doctor’s orders) we’ll have a few more
kids around. It’s children, not furni-
ture, that make the home.”

In her home Judy is as unlike a star
as anyone could imagine. On a recent visit
to her home this writer found the chil-
dren very well adjusted to each other.
They seemed at ease with both parents
and are all treated equally.

On one occasion, when Liza interrupted

a conversation to ask her mother a ques-
tion, Judy very quietly told her we were
talking and would she mind waiting a
minute.

A moment later, we finished our con-
versation. Judy turned to Liza, saying,
“Now, darling, what was it you wanted
to say to me?”

Then baby Joseph toddled into the room
in his pajamas. He clambered up on
Judy’s knee while we talked. When it
was time for his supper Judy smothered
him with kisses and said, “You’re the
nicest baby in the world and I love you.”

Obviously, Judy has no intention of neg-
lecting her children as she was neglected
as a child.

During the week Judy was rehearsing
twelve hours a day for her night-club
act, recording an album for Capitol records
and staying up all night with Joseph, who
had a temperature of 104.5° for two days.
In the evening she prepared dinner for
the family while the nurse rested.

But you can’t explain all this to an
audience which pays to see a perform-
ance, and Judy knows it. Bleary-eyed
and tired, she went on in Las Vegas; and
the few shows she missed were probably
the result of genuine fatigue.

But on opening night she was sur-
rounded by her entire family, brought in
by train for the event. And she seemed
happy.

“In the old days I was overworked and
exhausted and had no idea of what I was
punishing myself for,” she said. “I had
no place to go and nothing that mattered
and no goal.

“Now, when I get through work I’m still
exhausted, but I go home at night to my
family and forget about everything else.
I have a full personal life besides a full
professional life. One balances the other.”

In addition, Judy seems to have a good
marriage with Sid Luft, despite occasional
quarrels which apparently serve to clear
the air between them. However, the
cracks in Judy’s personality are still there,
only temporarily mended. As long as she
stays in show business she can expect to
be on the receiving end of the strong
blows which forced her out in the past.

Recently, Judy returned to the Palace
Theater in New York where, again, she
emerged as Queen. The superlatives lav-
ished on her were necessary to keep her
going. In one of her rare moments of
self-analysis she told a friend what it
meant to her to be a success, why it was
necessary.

“When people go on telling you for
years that you are washed up, finished,
you begin to think maybe they’re right,”
Judy told her friend. “Then you sit down
and think that if you once had talent,
maybe you still have it.

“So you work, work, work to polish it
up again and you try and go on trying.
Finally you are as ready as you can be
to go before the public again.

“On opening night you are sure you
are crazy. You suffer and you writhe.
You know you are not going to be able
to sing a note. You know nobody is
going to like you. All those tales about
you being no good keep going through
your head and you wonder why you ever
got into this again.

“The curtain goes up and you totter on-
stage, half-stupefied with nerves. You
barely know what you are doing. It isn’t
until that first applause comes crashing
up that you get any relief. They go on
clapping and you are so happy you want
to cry and hug everyone down there.
You’re not finished. You’re still Judy
Garland — and they still like you. And
you think, like a prayer, God bless all of
you, for understanding.’ ” The End

My Daughter Joan

(Continued from page 27)

The incident seems to me one of the
more perfect examples of something I’ve
been contending for years — that life with
Joan could never, under any circum-
stances, be dull and plodding. Even when
the circumstances include a shopping
expedition.

Joan’s father and I raised our daughter
to be the sweet and lovely young lady
that she is. It’s just that somewhere along
the way she developed an absolute genius
for the unexpected. For instance, how
many parents receive letters like this one?
Dear Mummy and Daddy, Sorry for not
writing sooner, and this is just to say that
all’s well. Will get off a long letter within
a couple of days, but right now I’m ex-
hausted. Spent the dreariest day in the
bathtub, wearing long underwear! Love,
Joan.

Unusual? We rather thought so. But
then, so was the story she related later.
It seems she’d started the famed bathtub
sequence for “The Opposite Sex” in a
bathing suit, but the scene was a long one
and took time to shoot. After three days
in the tub, the suit was cutting her to
ribbons and her skin was a combination
of shades of black, blue and scarlet. The
studio called in a doctor, who took one
look at her and announced, “No more
water.”

Consequently, on the fourth day Joan
donned men’s underwear, plus a pair of
plastic trousers. They placed a wooden
board in the tub, a plastic sheet around
Joan’s waist, then poured in water and
soapflakes to give a bubblebath effect at
the top. In this way she was able to finish
the scene, but she waited to write us the

full details until she was able to laugh
about them!

If you’re thinking that something like
this might occur only in the life of a
movie star, perhaps you’re right. But al-
though most of the things that happen to
Joan could happen to anyone, they rarely
do. I can vividly recall her account of a
swim in Jamaica while on location for
“Seawife.” While paddling around, she
glimpsed two large green things shimmer-
ing in the water and swam closer to in-
vestigate. Fascinated, she called to some
friends swimming near by, “Look! Come
see what I’ve found!”

They came, saw, and left abruptly, tak-
ing my bewildered daughter with them.
Once safely away, they explained that
she’d been rubbing noses with an octopus.
The green things were the eyes.

Her friends have found that when
they’re with Joan, it’s best to be prepared
for anything. As her mother, I first be-
came aware of the fact in a department
store one day when she was three. A floor
full of fellow shoppers began to scream
with laughter and I glanced around to find
the source of amusement. Her name was
Miss Collins and she was as busy as could
be taking hats off the stands, trying them
on, and mimicking the models perfectly.

As you may be gathering, life with Joan
is full of surprises. But even when she’s
predictable the atmosphere is a lively one.
In addition to her way with words, our
daughter somehow acquired a supply of
energy that could put the vitamin-pill in-
dustry out of business. With all of the
titles she was awarded during her model-
ing and starlet days, her father and I have

often wondered how she missed out on
“Miss Perpetual Motion.”

When she is sitting down, her fingers
tap the arm of the chair, her toes tap the
floor. She is constantly reaching for a cig-
arette. I’d worry about her smoking too
much, but her average is approximately
two puffs per cigarette and then she puts
it out.

When she’s home, the record player
goes from morning to night, with Joan
joining the original Broadway casts in
songs from her two favorite albums, “Pa-
jama Game” and “Damn Yankees.” I’ve
come to know the scores by heart, al-
though I've never seen the shows.

A full house at the Collinses’ is a thing
to behold, providing you have the strength.
There’s our ten-year-old son, Bill, who
likes to retire to his room with the tele-
vision set going full blast. There’s Jackie,
eighteen, who prefers the radio in her
room — usually turned up so that she can
hear it if she suddenly decides to step into
the kitchen. Add Joan, the record player
and the telephone and you have something
that closely resembles bedlam.

I mention the telephone because it hap-
pens to be Joan’s lifeline. It rings con-
stantly when she’s home. We used to have
two of them. However, the extension was
taken out when we discovered that Jackie,
at an early age, was developing remark-
ably as a mindreader. Joan would be
dressing to go out and I’d ask the name
of her escort. Jackie, then too young to
date and resenting it mightily, took the
greatest pleasure in supplying full de-
tails including name, time, occasion, and
conversation.

Of course, we occasionally doubt the

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wisdom of having settled for the kind of
telephone that can be plugged into any
room. Now when it rings, there’s an eight-
room search, with everyone shouting, “Who
talked last — and where?”

Although Joan is on the telephone or on
the run from the moment she gets up in
the morning until she climbs into bed at
night, I’m delighted that she has learned
to channel her energy as far as her work
is concerned. When she’s in a picture, that’s
it. And we can count on it.

When her father visited Hollywood last
year, his plane was scheduled to arrive in
California at two a.m. He landed to find
the greeting committee conspicuously ab-
sent. He was less than surprised at the
note from Joan which awaited him. “I’m
so sorry I can’t meet you, Daddy,” it read.
“But I have to be at the studio at six-thirty
this morning. Will call you from the set.”

Joan’s dates are aware of her shoot-
ing schedules. During her father’s stay, he
would pick her up at the studio at six or
seven in the evening and drive her home,
where she’d bathe and dress. Then Arthur
Loew, Jr., would stop by r.nd the three of
them would go on to dinner. However, by
ten o’clock, eleven at the latest, Joan was
home again.

The majority of Joan’s dates in Holly-
wood have been with Arthur, and she and
her father tell me that he’s an awfully nice
young man. Whether he and Joan will
marry — well, her career has separated
them a great deal during recent months
and the future is hard to predict. But I’m
certain of one thing: This time Joan will
be ready for marriage. Our daughter has
matured considerably in her attitude to-
ward matrimony. “I want to get married
again, Mummy,” she told me the last time
she was home. “But this time I’m going
to be really sure that he’s the right person.”

She sighed a little. “People who marry
after knowing each other for just four
months only think they’re in love. They
don’t really know each other at all.”

I wish that we could have spared Joan
the heartbreak of learning the hard way,
from her mistake. Joan was never a flirt.
Maxwell Reed was her first love. For a
while, he was her secret love. She’d cas-
ually ask if I would take her to see his
films. By the time we’d seen one of them
three times, I suspected that there was a
crush involved. Then his picture appeared
in her locker at school, and another beside
her bed.

She met Max the night she went to a
party with Laurence Harvey. They had
dated only a few months when she told
us that they wanted to marry. Her father
and I objected vigorously. They’d met
such a short time before, and Joan was
only eighteen, entirely too young to take
on the responsibilities of marriage.

The discussion went on for days and I
was the first to give in. I knew that if we
didn’t give our permission, they would
most certainly elope, and I felt, as all
mothers feel, that a girl’s family must be
with her on her wedding day, that the
wedding should be a happy, memorable
occasion. Other girls become brides in
their teens and make their marriages suc-
cessful, I reasoned. Perhaps Joan and Max
would stand a chance, after all.

But Joan’s father was adamant. “If you
marry that man I shall never speak to you
again,” he stormed one night, after reason-
ing had failed. Then he stalked out.

When he returned, several hours later,
Joan was still in tears. He sat down beside
her and put his arm around her. “All
right,” he said. “All right.”

P The wedding took place on Joan’s nine-
teenth birthday, At first everything went
well. They set up housekeeping in a pent-
house apartment and Joan tried her hand

at cooking. They bought a boat and spent
their weekends sailing. They had their
careers in common and starred in several
plays together. But they couldn’t over-
come their differences, and two years later
the marriage was over. “You were right,”
Joan told her father. “I should have
listened to you.”

“Why does this have to be the one time
in my life that I’ve been able to say, ‘I
told you so’?” her father replied unhappily.

“My next marriage will take a lot of
thought on my part,” Joan says today.
However, whomever she marries will have
to contend with the fact that she will
probably never be domestic. When her
father returned from California, I in-
quired, “How’s she coming with the house-
keeping?”

“The maid is doing a beautiful job,” he
smiled.

It’s true that there has always been
someone to do things for Joan. It’s also
true that some people are domestically
inclined, others aren’t. And Joan did not
inherit my love for housework and cook-
ing!

I can so plainly recall the times we were
without help during the war. I’d ask her
to do this or that in the kitchen and in her
dramatic way she’d counter, “You know,
Mummy, you chose to be a housewife. I
didn’t. You chose your career. I have
chosen mine.”

I couldn’t very well argue and actually

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never had to. After she’d made her point
she was quite cheerful about taking over
the duties that I assigned her.

The principal thought in Joan’s mind,
however, was to become an actress. We
should have been prepared for it, as she
comes from a long line of show people.
Her grandparents were theatrical folk and
her father began his career in 1917. His
father ran a company in South Africa and
as a boy it was Will’s job to go around and
nail handbills on the trees.

Oddly enough, it was because of Will’s
life in show business that he objected to
the idea of Joan getting into it. As a
theatrical agent in London, he’s always
been too well aware of the hardships and
heartbreaks involved.

Joan persisted and finally asked if she
could take the examination for the Royal
Academy of Dramatic Arts. I was pretty
well floored to hear him agree immediately.
When we were alone, I politely asked him
if he’d lost his mind. “Of course not,”
said my husband. “I think it’s a fine idea.”

“Will Collins . . . after all the years
you’ve been objecting!”

“Don’t you see,” he explained with the
air of a man of logic. “This will be the
finish. Let her take the exam. She’ll never
pass it. It will be the end of it.”

There was reason for his optimism. Of
the five hundred who apply to the Acad-
emy each year, only a small percentage
can be accepted.

To bolster Joan’s morale and help to
soften the blow that I was certain would
come, 1 took our daughter shopping for a
special dress. It was white, with blue
polka dots, and Joan went to the audition
feeling as if she had stepped out of Vogue.
She chose to do a scene from “Our Town”
and a speech from Shaw’s “Cleopatra.”
Then she came home for the long wait.

Several weeks later, she received a let-

ter of acceptance. She’d passed the test
with flying colors, and I might add that
when the news arrived there was no
prouder man in the whole of the British
Isles than one Will Collins. As a matter
of fact, his attitude has yet to change. To-
day he’s official keeper of the scrapbooks
and he’ll bring out ten of them at the
drop of a hint.

Of course, our daughter has changed
in some ways since she’s been in Cali-
fornia, in little ways that I suppose only
a mother would notice. There’s her habit
of leaving half her meal, no matter what
I serve her. It’s a brand-new habit and
it worries me a bit. There’s the sweater
she wears, which swallows her. “I bought
it for Arthur, but he didn’t care for it,”
said my daughter, whose clothes usually
cling to her figure. “I couldn’t let such
a nice sweater go to waste, could I?”
There’s her jewelry. “It’s real now,” she
glows. “I stored the costume stuff.”

In other ways, Joan has changed very
little. Star that she is, she can still join
her brother in his Davy Crockett games,
keep a protective eye on her younger
sister, Jackie, who’s now in Hollywood.
Friends from her Academy days are still
close friends. And when she’s home, no
matter which room I’m in, I can still hear
her little-girl-like call, “M-u-m-m-y. . . .”

She’s as outspoken as ever, and she
shudders to think that the trait might have
cost her the role of the nun in “Seawife,”
if she’d persisted. She was in New York
when the studio called to tell her that
she’d been chosen for the part, only then
they were calling it “Seawyf and Biscuit.”
Joan began to object. “It sounds,” she
told them, “like the story of a boat and
a dog.”

Actually, it’s a tale of five survivors of
a shipwreck and it’s a magnificent op-
portunity for her. But as parents, her
father and I were especially delighted that
some of the film could be shot in London
because it meant that she could be at
home with us for a while.

I believe I was reminded most of the
old days the night she appeared, ready
for a premiere, in an extremely tight-
fitting formal gown. “I wonder what
would happen if I start breathing,” she
grinned.

We soon found out. The zipper went.
I was taking some hasty stitches when her
escort arrived. “Hurry, Mummy. It’ll be
all right,” were her famous last words.

Joan returned home unusually early that
evening, wearing her coat and clutching
it with both hands. “What happened?”
I asked her.

“It was a very funny film,” was my
daughter’s reply. “I laughed and my
dress began falling off.” Then she let
go of the coat and her gown fell to the
floor.

It was hectic, but all too brief a visit.
Just now Joan is on the “Island in the
Sun” location in Jamaica. Consequently,
it’s a quiet evening as I write this. Bill’s
in bed and the television set has been
turned off. The records are back in their
albums and there’s no dark-haired girl
to laugh into the telephone while her
father roars, “It’s bedlam. Absolute bed-
lam!”

However, earlier this evening the same
Mr. Collins looked up from his paper and
remarked, “Peaceful, isn’t it? Nearly
drives you crazy, doesn’t it, all this peace
and quiet?”

It does. But tomorrow there should be
a letter and that will help. In the mean-
time, I think I’ll join the original Broad-
way cast in a chorus from “Pajama
Game.” The End

You’ll love: Joan Collins in “Seawife.”

Hollywood's Biggest Headache

( Continued from page 37)
and I know. I’ve seen it more than once.”

“You’ve worked with him and you still
say he’s good?”

“I certainly do still say it. Furthermore,
I mean it.”

It goes like that all the time — the ad-
mirers vs. the detractors of Tab Hunter.

Right from the start, his fan mail
jumped to 4000 a week. On the other
hand, that’s not as much of a barometer
as you’d imagine. Spencer Tracy is lucky
if he gets a postcard, and who’s going to
throw away Spence Tracy? Still and all,
it’s something. They figured Hunter
had been hypoed, gimmicked, blown up to
be that big, and that he’d explode like a
pricked balloon. But he didn’t. He stuck
in there. He’s solid now. So what do
they do now?

And in the middle of all this is Tab
Hunter, who really is Arthur Gelien, who
perhaps stands off and observes Tab
Hunter— as do many others — with a sense
of disbelief, a sense of gratitude and of
shock. Or disillusionment. Fame has come,
and money, but not fulfillment. It is next
to impossible to shed tears over the plight
of a movie star who doesn’t get the roles
he wants. Yet it is true that frustration is
not confined to the lower deck. It chews on
all equally, and if in the end it is not re-
solved, being a movie star comes to noth-
ing. A discontented man beside his own
swimming pool is still a discontented man,
and no amount of expensively piped water
is going to wash it away.

And surely there is reason to believe
that Tab Hunter is a not too happy fellow.
The testimony is his own; you are about
to read it. One day in early autumn, Tab
Hunter followed his much-touted fore-
lock into the commissary of the Warner
studio, stopped at a wall table to talk with
Natalie Wood, with whom he had lately
made “The Girl He Left Behind,” and then
went to the corner where friends waited.

“I’ve been crying all morning,” he said.
Not for any personal reason, though. He’d
been working on a film for Warner’s TV
show for which tears were required. He
hoped he’d done the scene well. His voice
sounded dubious.

“With me,” he said, “it can be an ordeal.
Studio people are hanging around, and
their feeling comes across loud and clear.
They’re so sure, so many of them, that I
can’t act. I know it. Why kid myself? It’s
part of being Tab Hunter. And, naturally,
that shoots my confidence. As a re-
sult, I blow. What I want to know is, why
are they so sure?” He ordered a light
lunch and blew out his breath.

“It’s not enough,” he said in answer to
a question. “It’s just not enough. For some
actors, I know, it’s enough to have the
money and the big deal — celebrity, or
whatever you call it. But I’m going to
throw a hub-cap one of these days. I can
act, I swear I can. If they’d just give me a
chance. No, it’s not off the record. There’s
no secret about it. I’ve been to the brass
and done everything but turn purple and
roll on the floor, asking for parts. Parts
that are parts. All they do is pat me on the
head. Maybe they’ve been reading their
own publicity about me. Just a chance —
it’s not so much to ask for.”

There was an interlude. Miss Wood came
over and said she’d been dating Elvis
Presley. Night before, as a matter of fact.
“He’s intelligent rather than intellectual,”
she said. “I like the intelligent ones better
And you know something? He has no idea
how famous he is. No idea at all.” Tab
listened glumly. She went away.

"The fame kick again.” he said. “You

know what I am? Or maybe now I can
say was. I’m the phoniest sort of a star.
I’m typical of the gimmick where the pub-
licity’s a zillion miles ahead of the career.”

“Tab,” said a studio representative. It
was a whole sentence in itself.

“No, I’m not kidding,” he said, stub-
bornly, “and I’m not knocking the pictures
I’ve made. I’m talking about Tab Hunter,
whoever he is. All the magazines, all
the newspapers, all the fathead things
they’ve had me say and do. It’s not fun.
Sometimes I might even say it’s not worth
it. But I won’t ever really say it because
I want to act and I love to act. It’s all I
care about, and sooner or later I’m going
to get the chance.

“Incidentally, don’t think for a moment
I’m putting the rap on publicity or the
studio or the industry, God love ’em all.
But if Tab Hunter wants to bat his head
against a wall, who’s got a better right?”

A high Hollywood muck-a-muck had
observed only the day before regarding
this boy: “Tab Hunter’s the ultimate test
of whether we’re an art or an industry.
That’s if the faction who says he can’t act
is right. If he can’t act, what’s he doing in
an art medium? And why does the me-
dium tolerate him? On the other hand, if
it’s purely a question of box office, then
how can you let him go? The boy next
door is money in the bank.”

Of the boy next door, Tab now said:
“There’s a jerk I could get along without
from now on. That’s the whole point of
what I’m getting at. I’ve nothing against
the boy next door as such. But who is he?
How do you know he’s not Count Dracula?
And why is he necessarily Tab Hunter?
You have your features thrown together in
a certain way, and someone on the top
floor or a reviewer, or the blessed audi-
ence, says you’re the boy next door. And
that’s it. It’s like being branded. I work
hard at this business. I’d like to see come
my way a psychotic murderer, maybe, or
a role that ages and mellows, or something
of that sort. A part, a challenge! Without
an occasional tough one, a player can die
of spiritual malnutrition. The boy next
door once or twice, yes. But please, God,
not forever.”

It was suggested to Tab that the law of
supply and demand had to be a factor in
the way he was cast.

He paused thoughtfully, then said, “Wait.
I’m going to contradict myself here if I’m
not careful. You’re talking about the
young audience, my age and younger.”
Hunter is twenty-ffve, and the general
feeling is that his audience is mainly from
the junior element.

“All right,” he said, after several mo-
ments’ thought. “If the kids insist, if they
insist, then it has to be that way. I mean,
God bless them, if it weren’t for them, I’d
be in Nowhereville. But if it has to be the
boy next door, can’t it at least be the boy
next door done in depth and with feeling
and — well, sensitivity? Look, I don’t want
to be an actor, I want to act. That’s on
the level The star bit’s great but it’s
not enough. You have to do what you
can do. You have to.”

He did then, after all, embrace stardom
with some degree of warmth?

“I told you I’d contradict myself,” he
said. “I’d be a fool to say no to that. It’s
rough, but I guess it’s wonderful in its own
special way. For instance, I get star billing
Well, I wouldn’t settle for feature billing.
It sounds hammy but it’s important. It’s
not just your vanity, but good business,
too You shouldn’t step down till they put
their foot in your face. And that could
happen.”

Suddenly his voice was intense and bit-

ter. “I’m going to tell you something,” he
said. “You come into this business as a
kid and you believe in everyone and
everything. Then you change. Something
happens to you. And they ask, ‘What ever
happened to that unspoiled, fresh-faced,
innocent youngster who came on this lot
a few years ago? Why has he changed in
the way he has?’ Well, don’t they know?
It’s not you that changes, not me! Not
from the inside, I mean. It’s some of the
people you meet and the things they do
to you along the way! They make the
changes and you’re the end product!”

For a moment, Tab looked about him,
helplessly, as if looking for a friend. Then,
his search given up, he came back.

“Oh, I’m going to qualify that,” he said.
“I’m not saying I’ve changed especially for
the worse. And I’m not saying there aren’t
a lot of wonderful people in the business
along with the others. There are. But I’m
not the shiny-faced, trusting kid I was
and I’d better not be, for my own good.
But my point is, you don’t change. Certain
people and circumstances change you. It’s
an outside job.”

For a little while, there, Tab Hunter had
sounded like more than a baffled, un-
happy young man. He had sounded like
an embittered one.

Yet authorities on Tab Hunter claim
that this is really not the case. They cite
him as a fellow full of hope, next to in-
domitable, with no feeling that he cannot,
in the end, confound his detractors and
bring his professional stature to the level
of his strange publicity — a kind of filling-
out process.

“I’m going to win,” he has been quoted
as telling a friend. “I’m going to lick it all.
I don’t know when — this year or the next
or the next. But I’m going to keep pitching
and fighting for the audience that isn’t
mine today. It’ll take two things, as I see
it: fat parts and ordinary guts. I’ll work
my head off studying. I’ll make any rea-
sonable concession. So it’s got to happen.

“Someday Tab Hunter will command
adult and professional regard, and nobody
else will make my name part of a play
title — if they did mean me — kidding the
publicity end of the picture business.
Maybe I did get off on the wrong foot,
from a certain point of view. I cooperated
with every publicity gag in the shop; sure
I did. And I’m still not convinced I was
wrong. You have to start somewhere and
in some way. Of course, it would have
been better if the actor had come first,
then the public figure. That’s the natural
order. But I didn’t have a choice. People
forget that. And anything’s better than
nothing.

“But I’m not going to let them write me
off. Wait and see.”

Tab, to his credit, wants only the fight-
ing chance that a good role represents.
Much cooler to publicity these days than
heretofore, he is not yelling for promotion

But these are no more than outside
factors. Our eyes are on the man in
the arena — Tab Hunter. The man in
the arena is the man who counts. It
also matters that the man in the arena
has his helpers as well as his heck-
lers— and when the chips are down Tab
Hunter will find out that most of the audi-
ence is on his side. Our guess is that Tab
Hunter will be in Hollywood for a long
while, and that in time this same Holly-
wood will be proud and happy to acknowl-
edge him as one of the foremost of its
people. The End

Watch for: Tab Hunter in “The Girl He Left
Behind.’’

Good Boy — Don Murray

( Continued frcr'i page 21)
as the lead in ‘Bus Stop’ opposite Marilyn
is quite a break. Was she at all responsible
for getting you that break?”

When his latest interviewer asked him
that, Don reached for the hand of his
lovely young bride, Hope Lange. They
smiled at each other, exchanging some
silent communication in that universal
language of lovers. Don’s smile lingered
as he turned back and said, ‘‘Heck, no.
I didn’t even know Marilyn when I got to
Hollywood.”

Then he said, “And now you’re going
to ask me what it was like to work with
her. That’s always the second question, so
I’ll save you the bother of asking it. Work-
ing with Marilyn Monroe was great. I
think she’s a better actress than most
people realize. In fact, she’s a very good
actress.” He finished pleasantly, “Now,
you just ask anything else you’d like to
know and I’ll be glad to tell you.”

He will, too. His life is literally an open
book, with no hidden pages marked “not
for publication.” He doesn’t drink or
smoke, he married the first girl he ever
loved and their first child is due to be
born next spring. He also frowns on pro-
fanity as being mostly a form of mental
laziness. But profanity, like swaggering
and bullying, is usually just an outer
show of toughness to cover an inner weak-
ness. Don can afford to admit his lack of
vices because no one would be apt to make
the mistake of thinking there is anything
weak about him. He’s a rugged, solid, se-
rious six-foot-two of man, and all man.
He doesn’t have to prove it, for you know
it the minute you meet him.

fifi

Hes impulsive, impetuous and impatient.
The only exception to this has been his
courtship of Hope. He waited five years,
talking himself hoarse every time they
were together. But Hope, who plays the
same role in the film version of “Bus
Stop” that she played on the stage, is a
practical young woman. She knew the
hardships that lay ahead. Like Don, she
never doubted that he’d make the grade,
but she felt he would have a better chance
if he traveled alone at first.

They were married last April, during
the filming of “Bus Stop.” The studio gave
them a few hours off, and they had a quick
civil ceremony that was followed, three
months later, by a religious ceremony in
New York. Then, before the ink was dry
on the marriage certificate, Don was on
his way back to California to make “Bach-
elor Party.” Hope joined him there just in
time to turn around and head back East
for the New York location shots. That was
when they found out that more happiness
was in store for them. Their twosome was
soon to become a threesome.

All this in the space of one year — star-
dom, two movies, marriage, parenthood.
But Don didn’t seem surprised by any of
it. He just goes along, taking it for granted
that good things will happen to him. And,
somehow, good things always do.

Unlike most of Hollywood’s successful
citizens, Don is a stranger to the psycho-
analyst’s couch, and he probably always
will be. It’s simply not in his straightfor-
ward, outgoing nature to spend time think-
ing about himself or worrying about what’s
going to happen next. He’s much too busy
making it happen.

“I always knew I’d be an actor,” he says
of his swift rise to success. “The thing that
surprised me was finding out that I wasn’t
a comedian, but a serious actor.”

This happened when Don had the part
of the tragic Scotsman in “The Hasty
Heart.” He was studying at the American

Academy of Dramatic Arts at the time
and one of the Academy directors spotted
his dramatic ability. The director helped
Don get a job in summer stock and the
young actor’s early ideas of being a co-
median became a thing of the past.

Don Murray grew up in the theatre. His
father, Dennis Murray, was and still is, a
well-known director. His mother, Ethel
Cook, was one of the original Ziegfeld
Follies girls. Den was actually born in
Hollywood and, in a sense, his connection
with the Fox studio might be said to have
begun then, too, because his father was
working as a dance director on the Fox
lot when young Don was born.

Despite the fact that he looks like a
Westerner, that there is an aura of the
outdoors about him, Don was raised mostly
in the East. When he was nine months old,
his family began the move toward the
Atlantic Ocean, pausing wherever Mr.
Murray could get work, since the year
was 1929-’30 and the Depression was
abroad in the land. After brief pauses in
Fort Worth and Cleveland, the Murrays —
including Don, an older brother, Bill, and
a young sister— settled in East Rockaway,
on Long Island, where Don distinguished
himself in high school sports but not in
studies. He was an average student who
excelled as a long-distance track runner,
won his letter in football and played a
fast game of basketball. In his freshman
year, he spent whatever spare time he
could find writing and directing scripts.
When he didn’t like the quality of his
classmates’ acting, Don decided to act the
parts himself.

He tested for his first screen role at
eighteen, but was considered too young
for the part in “Bright Victory” which the
studio had hoped to sign him for. He
seemed so talented, however, that the
front office offered to sign him to a ten-
year contract, promising to “shape you
into something colossal.”

Don thanked them but said he preferred
growing to being shaped, and headed back
to New York. It was while playing the

★ ★
TO REACH THE STARS

In most cases your letters will reach
a star if addressed in care of the
studio at which he made his last pic-
ture. If you have no luck there, try
writing to each star individually,
c/o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Calif.

Allied Artists, 4376 Sunset Drive,
Hollywood 27

Columbia Pictures, 1438 North
Gower Street, Hollywood 28
Samuel Goldwyn Productions,

1041 North Formosa Avenue,

Los Angeles 46

M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38
Republic Studios, 4024 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 West
Pico Boulevard, Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal - International, Uni-
versal City

Warner Brothers Pictures,

4000 West Olive Avenue, Burbank

★ ★

role of the sailor in the Broadway produc-
tion of “The Rose Tattoo” that Don met
Hope. He and another young actor had
arranged a double date.

From there on in, Don was determined
to marry no one but Hope. But she was
still in junior college, so he settled down
to waiting for her to grow up. While wait-
ing, he received his “Greetings” from
Uncle Sam. Because of his religious con-
victions, he was listed as a conscientious
objector and was assigned to two years of
service in European refugee camps.

“I could never be a party to killing in
any form,” Don explains this quite simply.
As an alternate to military service, he
chose to go overseas as a worker for the
Church of the Brethren, which, like the
Quakers, is a “peace” church. “I worked
as a laborer and a mason, and did social
work at night. I was paid $7.50 a month
plus my board and lodging.”

He stayed a year in Kassel, Germany, and
another year and a half in Naples, Italy.
Here he worked at a camp among some
5,000 refugees, who were living in a state
of abject misery behind barbed wire. This
gripped his heart and mind. “Some of the
suffering I saw there is indescribable. I’ll
never forget it. And I vowed that some-
day, somehow, I would return and do
what I could to help those wretchedly un-
happy people.”

Now, having finished his second picture,
“Bachelor Party,” Don is in a position to
give important aid in a financial way. He
and Hope plan to travel to Geneva, Switz-
erland, to work out a relief plan at the
headquarters of the Church of the Breth-
ren. He will also finance other volunteer
workers, who will be sent to Naples, and
will set up a regular program to which
he will contribute in the future.

“Actually,” he says, “it will be a tithe.
I’ll give a regular percentage of my future
earnings for this work, for I think that
a man’s religion is shown by what he does,
not just by what he says. Besides,” he
adds, “I’ve got a mighty lot to be thank-
ful for. Helping people who haven’t been
as lucky is sort of my way of saying
‘Thanks.’ ”

Yes, all in all, Don Murray will probably
be known as the screen’s “good boy.” He
even has a clause in his contract which
states that he will never endorse a tobacco
or alcohol advertisement. His example on
the screen may help to change the style
in leading men from gloomy young rebels
in blue jeans to the image of a healthy-
minded young man who believes that
you’ll get farther by fighting for what you
want than by rebelling against what you’ve
got.

Maybe that’s what makes you think of
cowboys and mountains and fresh air and
bigness when you see Don Murray off-
screen. Maybe it’s because he carries with
him a sense of bigness that makes him
genuinely impatient with petty people,
petty jealousies. He’s a big man — 170
pounds of very solid flesh and muscle —
with big ideas and big ideals. He’s bound
to make women in the audience sigh and
recall a time when men were really rugged
men and women were glad of it.

Don will inevitably be referred to as
“a young Clark Gable,” but he’s not. He’s
a young Don Murray, with an acting style
and an appeal all his own. And, as one
reviewer said of his “Bus Stop” perform-
ance, “When Don Murray tossed a lariat
and caught Marilyn Monroe, he also
caught his audience, and held them, fast.”

And Hollywood is holding fast to Don
Murray, knowing that he’s going in just
one direction— up. The End

See: Don Murray in “Bachelor Party.’*

CASTS

OF CURRENT PICTURES

ANASTASIA— 20th. Directed by Anatole Litvak:
“A,” Ingrid Bergman; B on nine, Yul Bry liner; Em-
press, Helen Hayes; Baroness Von Livenbaum,
Martita Hunt; Chernov, Akim Tamiroff; Petr own,
Sacha Pitoeff; Marusia, Ina De La Haye; Stepan,
Gregory Gromoff; Prince Paul, Ivan Desny.

AROUND THE WORLD IN SO DAYS — Todd-AO.
Directed by Michael Anderson: Phileas Fogg, David
Niven; Passepartout, Cantinflas; Mr. Fix, Robert
Newton; Aouda, Shirley MacLaine; plus 42 guest
stars.

CURUCU, BEAST OF THE AMAZON— V- 1. Di-
rected by Curt Siodmak: Rock Dean, John Bromfield;
Dr. Andrea Roniar, Beverly Garland; Tupanico, lorn
Payne; Father Flaviano, Harvey Chalk; Captain Ca-
ccres, Sergio de Oliveira; Tico, Wilson Viana.

EVERYTHING BUT THE TRUTH— V- 1. Di-
rected by Jerry Hopper: Joan Madison , Maureen
O’Hara; Ernie Miller, John Forsythe; Willie 'Iaylor,
Tim Hovey; Mac, Frank Faylen ; Lawrence Everett,
Les Tremayne; Mayor Parker, Philip Bourneuf;
Senator Winter, Paul Birch; Arthur Taylor , Barry
Atwater; Roger Connolly, Addison Richards; Miss
Adelaide Dabney, Jeanette Nolan.

GIANT — Warners. Directed by George Stevens:
Leslie Benedict, Elizabeth Taylor; Bick Benedict,
Rock Hudson; Jett Rink, James Dean; Vashti Snytlie,
Jane Withers; Uncle Bawley, Chill Wills; Luo Bene-
dict, Mercedes McCambridge; Liiz Benedict II, Car-
roll Baker; Jordan Benedict III, Dennis Hopper;
Angel Obregon III, Sal Mineo; Juana, Elsa Car-
denas; Mrs. Horace Lynnton, Judith Evelyn; Dr.
Horace Lynnton, Paul Fix; Sir David Karfrcy, Rod-
ney Taylor'; Bob Dace, Earl Holliman; Pinky Snytlie,
Robert Nichols; Old Polo, Alexander Scourby.

GIRL HE LEFT BEHIND, THE— Warners. Di-
rected by David Butler: Andy Sheaffer, Tab Hunter;
Susan Daniels, Natalie Wood; Madeline Sheaffer,
Jessie Royce Landis; Sgt. Hanna, Jim Backus; Han-
son, Henry Jones; Sgt. Clyde, Murray Hamilton;
Maguire, Alan King; Preston, James Garner; Capt.
Genaro, David Janssen; Arthur Sheaffer, Vinton
Hayworth; Congressman Hardison, Wilfrid Knapp.

IF ALL THE GUYS IN THE WORLD . . .—
Buena Vista. Directed by Christian-Jaque : Captain,
Andre Valmy; Jos, Jean Gaven; Mohammed, Doudou
Babet; Alberto, Mimo Billi; Totoche, Claude Syl-
vain; The Commissioner , Bernard Dheran ; Dr.
Jcgou, Yves Brainville; Jcan-Louis, J. L. Trinti-
gnant; Christine, Helene Perdriere; Karl, Mathias
Wieman; Johnny, Peter Walker; Hcrta, Gardy
Granass; Polish Air Hostess, Margaret Rung.

MAN IN THE VAULT— R KO. Directed by Andrew
V. McLaglen: Tommy Dancer, William Campbell;
Betty Turner, Karen Sharpe; Flo Randall, Anita
Ekberg; Willis Trent, Berry Kroeger; Herbie, Paul
Fix; Paul DeCamp, James Deay; Louie, Mike
Mazurki; Earl Farraday, Robert Keys; Pedro, Gon-
zales Gonzales; Trent's Girlfriend , Nancy Duke.

PUBLIC PIGEON NO. 1 — RKO. Directed by Nor-
man Z. McLeod: Rusty Morgan, Red Skelton; Rita
DeLacey, Vivian Blaine; Edith Enders, Janet Blair;
Lt. Ross Qualen, Jay C. Flippen; Harvey Baker,
Allyn Joslyn; Frankie Frannis, Benny Baker.

REPRISAL! — Columbia. Directed by George Sher-
man: Frank Madden, Guy Madison; Catherine Can-
trell, Felicia Fair; Taini, Kathryn Grant; Bert Ship-
ley, Michael Pate; Neil Shipley, Edward Platt;
Sheriff Jim Dixon, Otto Hulctt; Tom Shipley, Wayne
Mallory; Jcb Cantrell, Robert Burton.

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Glamour Gab of Hollywood

Congratulations are in order: Rock Hudson , with his wife Phyllis, receives warm
praises for his acting front Natalie Wood , at the premiere of “Giant” in New York

(Continued from page 45)

Skelton clowning, and Don DeFore putting
on a skit which killed the people. But the
best moment came when David himself
sat down at the piano and began playing,
whereupon Dan Dailey jumped up on the
speaker’s table, pushed the dishes aside
and did a dance routine to the music.

Overseas Mailbag

You need a private plane to keep up
with your Hollywood pals these days.
All in one mail, this month, I got a letter
from Alan Ladd in Greece, from Mel
Ferrer in Paris, from Phyllis Kirk in
London and from Helmut Dantine in
Rome. Said Alan, among other things,
“Susie and I flew over to Paris this week-
end for the party they gave Gary Cooper
and ‘Love in the Afternoon’. ” Said
Phyllis, “I have always loved London and
love it even more this trip. In spite of
that and the fact that I think half of
California must be here (Joan Crawford,
Arlene Dahl, Fernando Lamas and others),
I find myself missing Beverly Hills. Anita
Ekberg and I are both staying at the
same hotel here and we blink rapidly
forty times a day, trying to adjust our-
selves to being with one another in
London and not in the middle of a jungle
set on the RKO lot making ‘Back from
Eternity,’ as we were a short while ago.”

Tale of Three Loves

Touching is the news coming to Holly-
wood from the East that Edna Best, the
heroine of one of the most unusual and
greatest of love stories, has been desper-
ately ill.

It’s possible you do not even remember
her name, yet at the time when she was
starring on Broadway and on film with
Herbert Marshall, she was distinctly the
June Allyson of her day. She was married
to Marshall, and she loved him so com-
pletely that when pictures sought her out
before they sought him she ran away
P from the film she was making, too home-
sick for her husband to stay in Hollywood
without him.

Then they parted. This was after she
and Bart had come back to Hollywood
together, and he had scored such a very
big hit. There were so many beautiful
ladies in Hollywood, and Bart was so
gallant.

At that time Bart’s best friend, and also
his agent, was Nat Wolfe. Nat, in fact,
represented practically the whole English
colony in films, glamour folk like Ronald
Colman and such. Nat wasn’t in the class
of handsomeness with his clients — what
agent is? — but he had a great heart.

So he fell in love with Edna Best, while
he kept on being her ex-husband’s agent.
They married and Bart married, and it
was all very, very “civilized,” as the
current saying is.

Except that Edna Best is now so ill,
and so is Bart Marshall, and neither of
their careers has amounted to a hill of
beans since their parting. “Boots” Marshall,
who used to be married to Bill Cagney,
looks after Bart with the most complete
devotion. Nothing could match it — except
Nat Wolfe’s loving care of Edna Best.

Hollywood Story of the Month

Love in Hollywood is really up against
the most fantastic pressures. I give you
herewith a classic example:

The case is that of Anne Baxter and
Russell Birdwell, press agent-director.
Anne Baxter is an extraordinary girl, a
genuine highbrow, a lady of real culture
and one of the finest actresses on screen,
as you can see for yourself in “The Ten
Commandments.” Offhand, wouldn’t you
think a girl like that would manage her
romantic life superbly? In Anne’s case,
you’d be dead wrong.

The late John Hodiak was a generous,
uncomplicated, fine-minded human being.
When he fell in love with Anne, it was
the sort of emotion that makes birds sing
and flowers bloom. Nevertheless, he never
was the right kind of a husband for a
girl as subtle and complex as Anne. They
came from entirely different worlds, she
from the artistic, elegant world of a man
like her grandfather, Frank Lloyd Wright.

John’s folks were peasant farmers in
Europe, hardworking miners in this coun-
try. Anne loved books, highbrow music.
John doted on nights on the town, with
a bunch of male pals, pub-crawling.

So, finally, after a gallant try on both
sides, they divorced and Anne got the
custody of their little girl. John, whose
career in Hollywood never really bloomed,
went to New York. Then last year he
died. Meanwhile, Anne met Russ Birdwell.

Here was an ex-newspaperman who
could talk books, art, music, movies.
Anne became so infatuated with him that
she threw over all her old friends. She
dismissed her father, who had been her
business manager. She dismissed her agent,
who was also a very old friend. She in-
sisted upon Birdwell as her director in
films. She wouldn’t read a script unless
he had read it first, and okayed it.

Maybe if the picture which they made
together had been a smash, their love
would have stayed intact. Or grown,
even — though how Anne’s love could
have been any greater than it was is hard
to imagine. But the picture, “The Come-
On,” was a flop, and now they have
parted. Anne’s getting back to her old
friends, and using her brains again.

Merry Terry

Marriage to Eugene MacGrath has cer-
tainly made a changed woman of Terry
Moore, and just might make her into the
actress she showed promise of being in
“Come Back, Little Sheba.” Gone are the
gay shenanigans of ermine bathing suits
and disappearing gowns that got her more
headlines than acting roles. Thinner than
ever since her recent illness, sparkling
with fun and happiness, Terry is a won-
derful combination of gay gamin and a
lovely woman, and the coming year
should again prove the truth of the old
adage that “them as has, gets.” Now that
her career is only secondary, it will
probably be more successful than ever!

Burt’s Sour Note

In the midst of incredible good fortune,
Burt Lancaster’s year was shadowed by
his feud with Ernest Borgnine, who sued
Hecht-Lancaster for additional sums he
said were due him from the picture
“Marty,” the one that earned an Academy

Robert Ryan has June Allyson’s rapt
attention as he tells her about the new
Zane Grey TV series, in which he stars

Award for Borgnine. Burt takes these things
pretty philosophically, which . is under-
standable. His brand-new home, his five
children and his richly happy life with
Norma enable him to regard the ups and
downs of life in the film colony in their
proper perspective, and with a grin.

Attention-Getter

Shades of the old glamour days! An eye-
dazzler is Debra Paget’s new car, com-
pletely jewel-encrusted and upholstered in
pale pink. It was Debbie’s present to her-
self after completing “The Ten Com-
mandments” which, she hopes, will pave
the way for more good parts. At least,
she’s bound to get attention.

He’s a Good Boy

Remember when Errol Flynn was Holly-
wood’s headline-making bad boy? Well,
you’d hardly recognize him these days,
living quietly with his wife, Patrice
Wymore, and his daughter, paying off his
back alimony and other debts, and really
paying attention to his career. He just
made “The Big Boodle” for United Artists
and has two more pictures scheduled, with
all his wild oats finally sown. At least,
for the time being.

The Happy Calhouns

This should be the most wonderful
Christmas ever for Lita Baron and Rory
Calhoun, whose first child is expected just
about that time. This marriage has seen
plenty of stormy weather emotionally and
plenty of rough going when Rory thought
his movie career was at an end. Those
are the days that try men’s souls and the
strength of a marriage. But this one
came through with flying colors, despite
the pessimists who kept saying it wouldn’t
last. With the birth of their child, I’d say
we can mark the Rory-Lita marriage
down as one of those “till death do us
part” items. After all, just how happy can
you be? Surely no happier than these two!

Little Girl Growing Up

The saddest little girl in the world,
Margaret O’Brien, has grown up to be a
trouble-haunted young woman. All her
troubles are career troubles, it’s true, but
this is serious enough for someone whose
life has been as much a part of Hollywood
as has Margaret’s. Last fall, she went to
New York to study at the Actors’ Studio.
But what she really needs is a part that
will bring out her poignancy, instead of
trying to make her over into a glamour
girl. Let’s hope this year will bring Mar-
garet her heart’s dearest wish — a part
to put her back on the road to stardom.

Kim’s Secret Heart

Kim Novak can’t think of much to ask
for that she hasn’t already got, but what-
ever she does ask for will undoubtedly
be dropped into her lap, gladly, by either
her studio or any one of her ardent
admirers. And although Kim denies that
Frank Sinatra comes under this heading,
she was looking very, very misty-eyed as
she sat in the audience at Las Vegas and
listened to him croon his love songs. But
Kim is smart enough to know that Frankie
has sung those some love songs so many
times that it’s probably difficult for him
to know himself whether he means them
any more. And while Ava Gardner keeps
promising to come to Reno to pick up her
divorce, the betting is still heavy that
she won’t divorce Frankie until she’s
ready to marry again — and there’s no sign
of that on the immediate horizon. So Kim
will probably keep right on dating good,
reliable Mac Krim, since this particular
doll is very sensible and levelheaded
beneath that lavender hair. The End

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Lover Boy — Elvis Presley

( Continued from page 25)
little girl said. The sandwiches became
souvenirs.

There’s a fad in California for hanging
knitted dice to swing behind an auto wind-
shield, as many people hang baby shoes.

“We’ve seen some pictures of your Cadil-
lacs, and they look awfully bare,” one fan
club wrote to Elvis. “We want to present
you with some knitted dice for each one of
5'our Cadillacs. We have a blue set for
the blue Cadillac, a white set for the white
Cadillac, and a pink-and-white for the
pink-and-white Cadillac.”

Some of the fans are too worshipful.
Elvis thinks a girl in Kansas City made
away with more Elvis Presley mementoes
than anybody else ever has or ever will.

“I think I know who it is,” he said.

“I think she got my red sport coat and
red shirt off the stage and also my gittar,”
he added. “That gittar cost $250, which
is a lot of money for a gittar. The one
I got now cost about $375.”

The Elvis Presley fans also write angry
and sometimes threatening letters to news-
papermen who criticize him. A Minne-
apolis radio station decided not to play
any of his records. It got some letters
promising vengeance. A rock was thrown
through the station’s front window. An
inscription on the rock said, “I’m a teen-
ager. You play Elvis Presley records or
we tear up the town.”

Elvis, of course, doesn’t encourage or
approve of this conduct. But the fans get
out of hand.

“This success of mine means too much
to me to do anything to foul it up,” he
said. “For example, I’ve never touched
any sort of alcohol. It doesn’t pay off in
this business. Anyway, I wouldn’t have
time to drink. Five or six hours a night
is all the sleep I get, which isn’t enough.

When I saw Elvis in Hollywood, he had
none of his Cadillacs with him, nor his
Messerschmidt, either.

“My daddy’s keeping them up for me
down in Memphis,” he said. “He helps me
with the mail, too.” Elvis pronounced
help “hep” in the enchanting way that
most Southerners do.

One day, when Elvis was staying at
Hollywood’s Hotel Knickerbocker, his
manager, Colonel Tom Parker, came in to

find 230 phone messages waiting for him.

The Colonel — he got his colonelcy from
the Governors of Tennessee and Missis-
sippi— had the tedious job of sorting out
the messages to find which were calls
from people who weren’t teen-age fans.

Despite all this attention and worship,
Elvis continues to call almost everybody
older than himself either “Mister” or “Sir”
or “Ma’am.” Sometimes the “Sir” becomes
a soft, pleasing “Suh.”

“What are you going to do with all your
money?” I asked him.

“Suh,” he answered, “I haven’t got my
mind settled on that. The Colonel is going
to hep me decide that. I don't know too
much about that sort of stuff.”

But Elvis had already bought a home for
his parents in Tennessee and was also
giving them a trip to Hollywood. Not that
he expected he’d be able to spend much
time at the home in Memphis.

“I’ve been mostly on the road for two
years,” he said. “You name it and I’ve
been there.”

Elvis wasn’t easy to pin down on the
subject of girls. There was a pretty little
blonde named Jan Storey in the chorus at
Ciro’s who suddenly became a celebrity
because Elvis dropped around to see her.

“Did you date her?” I asked him.

“Yeah, I’ve been datin’ a lot of girls,”
replied Elvis, evasively.

He surely makes no secret of his interest
in the opposite sex. Curiously enough, he
met a girl in Texas whose first name is
also Elvis. But he didn’t get to know her
well enough to remember her last name.

“Where did you get the name Elvis?” I
asked him.

“It was my daddy’s middle name. Where
he got it, I don’t know,” he said. He’s an
only child. “There’s just Daddy and
Mother and me,” he says.

Presley’s fans are as much impressed
with his looks as his voice. He has a sort
of dark, sooty look under the eyelids that
gives him a dramatic appearance. This is
not make-up. It’s just there.

“How did you get sideburns?” I asked.

“I always figured as a little boy that
when I grew up I wanted to have side-
burns,” he answered. “Soon as I could,
I got ’em.”

At one point, however, when he didn’t
have complete confidence in himself as
yet, he abandoned them. Then he came
back to them. I asked a 20th Century-Fox
spokesman whether they were contem-
plating any changes in Elvis’ looks.

“Say,” replied this spokesman, “we
wouldn’t dare to change his looks or to
touch those sideburns. We’d cause riots.”

“Why are you such a successful singer?”
I asked him at the time he was getting
his fourth gold record, presented to mark
sales of over a million of one of his discs.

“Maybe it’s just because I enjoy it so
much myself,” he said. “I put my whole
heart into it. Maybe people can see that.”
He takes the same attitude toward his
acting, including the love scenes.

“I always wanted to sing,” he said very
seriously, “but I didn’t think I could
make it. I used to go to all-night singin’s
in Memphis. We’d sing very beautiful
spirituals and hymns all night long. Some
of the songs had beats like a regular rock
’n’ roll song. That music doesn’t hurt any-
body, and it makes you feel good. I used
to get chills up and down my spine
listenin’ to some of those songs.

“But I don’t know a note of music.
Some people have warned me not to learn
any. They say if I ever learn how to sing
good, I’ll be out of business.

“I got my first gittar when I was about
eleven,” he remembered. His family was
still living in Tupelo, Mississippi, Elvis’
birthplace, then. “My daddy was a com-
mon laborer,” he said. “He didn’t have
any trade, just like I didn’t have.”

Elvis was about thirteen when the Pres-
leys moved to Memphis. He sang a lot at
the First Assembly of God Church. In
high school he never tried to get into any
student plays. When he got out of high
school, he found a job driving a truck.

“I was happy,” he told me. “I didn’t
have any money or anything. But I was
datin’ once in a while.”

At the *time other youngsters his age
were having cheap recordings made of
their voices, just for the fun of it. and
Elvis did, too — but not for fun. When
Sam Phillips, a local record-maker, didn’t
immediately announce that he was a
genius, Elvis became discouraged.

“I didn’t even pick up my gittar for a
year and a half,” he said. “I just drove
my truck.

“Well, one day Sam Phillips called. He
said, ‘I have a song I’d like you to work
on. Can you be here by three o’clock?’
I was there by the time he hung up the
phone.”

Sam Phillips had actually been greatly
impressed by Elvis the first time he’d
heard him. He proceeded to make Elvis’
first record, “That’s All Right.” Very soon
after it had started to sell, Elvis appeared
before 4,000 people in Memphis’ outdoor
Overton Park, as part of a big package
show. He was paid $200.

“I was real scared, because I’d never
sung in front of a crowd before anywhere
except church,” Elvis said. “I hid when
they played my record.”

Elvis went on the radio. He had a habit
of jiggling his leg with the rhythm. That
attracted some attention.

“I was still scared,” he told me. “I
thought people’d laugh at me. Some did
and some are still laughing. Then there
are people who say what I do is wrong,
but I’ve never done anything anyone could
really call wrong. My mommy wouldn’t
let me.”

This conversation took place between
Elvis and me in his dressing room at Fox
during the making of “Love Me Tender.”
I’d heard a great deal about him before

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I went out to The Ranch, where the shoot-
ing was going on, for my first meeting
with him. I had a lot of preconceived
ideas. As it turned out, I was all wrong.

Nobody is laughing at Presley in Holly-
wood, although plenty are scared, in a
way. Because he has a naturalness which
Dick Egan, for one, regards as amazing.

“He must have been born with it,” Dick
told me that day, “and it’s the kind of
naturalness it takes fifteen years to get if
you’re just an actor. I stand there amazed.”

Another Hollywood admirer of Presley
is Debra Paget. “She’s crazy about him,”
Dick Egan said. “But he’s still a kid. He’s
boyish. He likes to sing harmony with
the group. He likes to play. Look at him
right now, for instance.”

I looked. Presley was practicing lasso-
ing, coiling up a rope and tossing it at the
steering wheel of a small truck about ten
feet in front of him. He missed the target
repeatedly but kept practicing.

“I got to learn how to be a cowboy with
this thing,” he explained after we’d been
introduced. “My trouble is, I can’t rope.”

He kept on tossing the rope with an
underhand pitch while I took time to study
him. I was surprised by his gentle manner
and good looks. I guess I’d expected to
meet a young hoodlum. Instead, a kind of
careless glossiness clung to him — to his
ducktail haircut, which shone even on this
dank morning; to his reddish-white shirt,
his tightish trousers and his neat-looking
black cloth shoes. He looked citified — and
yet the long sideburns didn’t seem out of
place. I was impressed and surprised.

As soon as I could, I told him what
Dick Egan had said.

Elvis hauled the lasso back, coiled it up
again and made another pitch. “That’s
real nice of him sayin’ that, but this is a
complete new racket to me,” he said.

“These are some of the nicest folks I
ever met. Including Debra Paget. In my
opinion she is the most beautiful girl in
the world.” Elvis’ eyes went searching
for her around the ranch yard and finally
found her, sitting on a porch.

“She’d sure make a pretty picture in a
cotton field pickin’ cotton,” Elvis said, and
with that he dropped his lasso, dashed like
a wild rabbit over to the porch where
Debbie was and plopped into her lap.

She squealed and shouted a little. But
it seemed to be more in delight than in
protest. The rocking chair squeaked and
groaned under the extra cargo, so Elvis
bounced out of Debbie’s lap. He loped
back to his lasso and to me.

That was Elvis at play. Well, I had to
admire his taste in playmates! And if that
was Elvis being natural, I had to admire
what comes natural to him.

Elvis has a lot of spirit and indepen-
dence in his make-up. While he was
generally meek and humble to the direc-
tor and his fellow actors during the mak-
ing of his first movie, he expressed him-
self clearly if he thought something was
wrong. For instance, he objected to the
title of the picture being changed to “Love
Me Tender,” even though it would seem
that this was a good way to plug. his big
song in the film. Besides, each time the
song was heard, it would be plugging the
picture. That was the “front office view-
point”— the commercial way of looking at
it. When this was pointed out to him by
his manager, Colonel Parker, Elvis saw
the wisdom of it. He relaxed and relented.

And, to sum up, I can see the wisdom
of Hollywood in putting its money on this
boy. Maybe Elvis won’t be another Val-
entino, or at least not the same kind of
Great Lover as the passionate Rudolph —
though I’m inclined to think he will. But
he will go on for a long, long time. The End

Don’t dare miss: Elvis Presley in “Love Me
Tender. ’

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Who Will Be Elizabeth Taylor's Next Husband?

( Continued from page 18)

Joan Blondell, or Elizabeth Taylor. Eve-
lyn Keyes is sleek, chic, sophisticated.
She is smart, both in speech and in ap-
pearance, whereas Joan Blondell, Bertha
Todd and Elizabeth Taylor all represent
the voluptuous, feminine type of woman.

Mike Todd, on his part, is a strange
combination of Elizabeth’s first husband,
Nicky Hilton, and her second husband,
Michael Wilding. He is a protective, older
man, as Mike was. He is also worldly,
self-assured, knowledgeable, also like
Mike. But — and this is an important dif-
ference— he has the wealth which Nicky
Hilton has and which Elizabeth has been
taught, all her life, to regard as the ulti-
mate security.

Elizabeth and Mike Todd each, therefore,
would seem to be satisfying a fundamen-
tal need in the other. And yet the idea
of a young woman marrying a man five
years older than the husband many people
thought too old for her has its elements
of the incongruous. It seems equally in-
congruous from Todd’s point of view.
His home base is New York, his friends a
combination of New York cafe society
and the so-called intelligentsia of writers,
artists and millionaire dilettantes.

Elizabeth Taylor’s work, friends and in-
terests are all as firmly established in
Hollywood as Mike’s are in New York.

This is why the announcement that she
would sell her home made friends believe,
for the first time, that she and Todd actu-
ally did plan to marry. If she marries
Mike Todd, she will have to live in New
York. Will she also give up picture-
making? Elizabeth has said, not once but
many times, when asked why she made
movies if she didn’t enjoy it, “For money.”

But Todd is a showman. He is a man
not exactly averse to publicity. He is
marrying Elizabeth Taylor, one of the
most beautiful women in the world and
one of the most important stars in Holly-
wood. If he is marrying a movie star,
while she is marrying in the hope of
being able to abandon, even partially, the
career that is part of her attraction for
him, can the marriage possibly last? Or
will it, for that matter, happen at all?

Some of the answers, at least, can be
found in the story of their whirlwind
courtship.

Like Montgomery Clift, Michael Todd
was what is referred to as “a friend of
the family.” The fast-talking producer
and the gay, fun-loving Liz had known
each other for years in a breezy, casual,

businesslike way. He was a frequent
visitor at the Wildings’ home whenever
business brought him to California. He
was in their party, along with another
friend of Liz’s, Kevin McClory, when the
Wildings attended a premiere of “Moby
Dick” last July. The fact that Michael
Wilding spent the evening table-hopping
at the party that followed at the Mo-
cambo, while Liz spent it dividing her
attention between Mike Todd on one side
of her and Kevin McClory on the other,
elicited no particular comment. After all,
it had been an open secret for almost a
year that the Wilding marriage was hav-
ing rough sledding.

But until that night everyone, perhaps
even Liz, thought that her children would
quiet the tempestuous restlessness that
had made her short-tempered, almost
waspish, with everyone she knew, includ-
ing her immediate family. No one will
ever know what words passed between
Elizabeth Taylor and her husband on the
drive home that night. But everyone
knows that the next day, Liz, through her
studio, M-G-M, announced that she and
Michael Wilding were separating.

“There is,” each avowed, “no other man
and no other woman. No divorce action
is planned at this time. We want time to
think things over.”

Shortly after that announcement, Eliz-
abeth left for Danville, Kentucky, and the
filming of “Raintree County.” The fact
that long-time friend Monty Clift was her
leading man did not go unnoticed by the
press. Columnists recalled the fact that
Clift had been seriously injured when his
car rammed a telephone pole as he was
driving away from a party at the Wilding
home. At that party was another young
man with whom Elizabeth’s name had
been linked, Rock Hudson. The fact that
Rock is now happily married to Phyllis
Gates didn’t mitigate the gossip.

“There,” people mused, “was Michael
Wilding, charming, debonair, but almost
twice the age of his wife and of the two
men with whom, rightly or wrongly, her
name had been coupled. And those men
were not only young, they were also
handsome and successful. Knowing in
his heart that he and Liz were close to
the parting point, I wonder how he felt?”

That, too, is locked away in Mike
Wilding’s heart and memory. When
Montgomery Clift’s car smashed into that
telephone pole, Liz came racing down the
winding path and climbed into the car to
hold his head in her lap, cradling it there,

murmuring to him as she choked back the
sobs until an ambulance came.

So when she left for that “Raintree
County” location so soon after her public
break with Wilding, the old rumors sprang
to new life. “Liz Taylor and Monty Clift
— will he be her next husband?”

But, even then, Elizabeth and Mike
Todd had already traveled a long way
along the trail that was to lead to Reno.

In September, less than a month after
Elizabeth had arrived in Danville, Mike
Todd came to keep a luncheon date with
her. He arrived, not by train or in an
automobile, but in a chartered airplane.
The two-motored silver craft glided to
the ground at the Lexington airport.
Elizabeth Taylor and two companions
climbed aboard. Less than two hours
later, Liz and Mike Todd were gazing
deeply into one another’s eyes across a
table at an exclusive Chicago restaurant.

The people who saw only the incongru-
ity of this second alliance with a man old
enough to be her father forgot or ignored
the fact that Mike Todd, by doing such
madcap things as chartering a private
plane for a luncheon that cost, in all,
$820.75, was appealing to the little girl in
Liz. The little girl who still hasn’t grown
up at all, despite two husbands, two chil-
dren, and twenty-four years. The same
little girl who said, when she saw Nicky
Hilton at the race tracks a year ago, “No
wonder I was so in love with you. You
were always so crazy and such fun.”

The same little girl who said, when
questioned about her then-forthcoming
marriage to Mike Wilding, “Age doesn’t
mean anything, really. He’s just a boy
at heart.”

The little girl who chased Mike Wilding
about their palatial home in a giddy game
of bullfight in which he was the bull and
she the toreador. The little girl who was
a breadwinner at an age when other chil-
dren are not concerned with anything
more financially momentous than their
twenty-five-cent weekly allowance.

Elizabeth, apparently, has found Mike
Todd irresistible. They have gifted each
other with expensive watches. Invited to
dinner parties in New York, Mike would
call and ask, mysteriously, whether he
could bring “a friend.” The friend turned
out to be Elizabeth Taylor.

While friends of both waited for the ro-
mance to cool off it accelerated. The
stocky, nervous, rather heavy-set man
with a chin thrust out like a bulldog’s
and the glamorous movie star became a
familiar sight, a familiar gossip-column
item. Todd’s past was called up as fur-
ther evidence of the incongruity of this
alliance. Mike Todd, born Arrow Hersh
Goldbogen of Minneapolis, was self-made.
The fact that he had peddled papers in
his youth, jerked sodas, taught bricklay-
ing, was not important except as a tribute
to his determination to succeed — until
people" mentioned the fact that one of
Mike Wilding’s attractions for Elizabeth
had been his background, his family sil-
ver, his ancient family traditions.

“It’s funny,” they said. “Elizabeth al-
ways seemed — not impressed, perhaps, but
aware, certainly — of things like back-
ground and tradition. Of course, Mike
Todd is supposedly a millionaire, but even
so — ”

Even so, the story went rolling on to-
ward an end that seemed more and more
inevitable — marriage.

Elizabeth gave up an appearance at the
Hollywood premiere of her biggest and
best picture, “Giant,” in order to be on
Todd’s arm for the New York opening of

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his mighty epic, “Around the World in
80 Days.”

The pair appeared at a post-premiere
party for “Lust for Life” at the home of
Ed Pauley, the oil king. Liz, once de-
scribed as a girl who comes alive only
when she’s in love, appeared radiant. No
matter what the circumstances, the guests
had to agree they made a handsome and
happy pair. Todd was attentive and
affectionate to the screen beauty.

(Wilding, upon being informed of this
new duo, remarked, “It isn’t this romance
that upsets me, it’s the one before,” but
characteristically refused to explain this
odd sentence. An M-G-M publicist mur-
mured, “Oh, but Liz asked Wilding first
if it was all right if she went out with
Todd.”)

While the activities of this unusual
combination were steaming the columns
from New York to Hollywood and back
again, the burning question of the day was
the usual one — But Will It Last?

Hollywoodites, when they had no
weightier subjects to discuss, buzzed with
arguments pro and con.

The beautiful Miss Taylor was sure it
would last. After her dates with Todd
began to be noticed, she joked to M-G-M
friends that she and Todd were just pals.
But in private she told a close friend
that “I’m really in love with him. When
I’m free I hope to marry him.”

Many of her friends supported this idea.
They felt her friendship with Todd was a
step toward her maturity. Furthermore,
they pointed out, the couple was not such
an odd combination after all.

I talked to one close friend of the star’s
who likened the Todd-Taylor duo to
David Selznick and Jennifer Jones.

“Liz’s other husbands have been all
wrong for her,” the friend insisted. “Todd
will guide her career.

“Nicky Hilton was much too young and
mixed-up. Mike Wilding was too subtle
and sophisticated and not responsible. He
was a pixie who liked to drink and have
fun. He wasn’t exactly rich, either. But
Todd is the opposite. He is wealthy and,
unlike an actor, always will be. He is
funny, but in an open, gay way as Eliza-
beth is. She is not a sophisticate, but a
down-to-earth, fun-loving creature. She
likes to pull on a pair of pedal pushers
and a sweater and be casual. She is a
natural, California-type girl.”

“Todd,” says another, “is dependable.
Liz can lean on him. With Wilding she
had to do everything — run the house,
bring up the children, take care of him.
At work on the set she was always wor-
ried about what was happening at home.
But Todd knows how to get things done.
She could feel secure with him. He is
a competent, brilliant guy.”

Thus, the champions of a Todd-Taylor
merger insist that young men bore her.
But as late as last October, opponents to
the merger said stubbornly that the age
factor was the single reason why Liz
would never become Mrs. Mike Todd.
“If she does,” they added, “it won’t last.”

“She gets those schoolgirl crushes, vio-
lent, intense things,” says one of her
close friends. “And they’re usually- on
older men. Just show her any man over
45 and she flips.”

Elizabeth, these worried pals say, has a
common ailment: a father complex. She
was a troubled girl who never had a
natural home life. To a daughter the
father is the most important member of
the family; her relationship with him sets
the pattern for her relationships with men
the rest of her life. Elizabeth scarcely
knew her father until recent years. Her
friends believe she is attracted to older
men because of a desperate search for

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WHERE TO BUY
PHOTOPLAY
STAR FASHIONS

To buy fashions shown on pages 46-52, phone
the stores listed below, mentioning Photoplay.
Or write to store nearest you, enclosing a clip-
ping of the item you wish to order.

Junior First vestee dress

boston, mass. — Wm. Filene's

MIAMI, fla. — Burdine’s

Washington, D. c. — Woodward & Lothrop

Kay Juniors sheath and jacket

Atlanta, CA. — Davison-Paxon Co.
miami, fla. — Jordan Marsh
new Orleans, la. — Maison Blanche
yolncstown, o. — Strouss Hirshberg

Sue Brett flowered shirtwaist

boston, mass. — Jordan Marsh

NEW YORK, N. Y. — Russeks

ST. louis, mo. — Stix, Baer & Fuller

Toni Edwards silk print sheath

MINNEAPOLIS, MINN. — Harold, Inc.

Newark, N. J. — Hahne & Co.

Toni Edwards eapelet dress

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PHILADELPHIA, PA. — Strawbridge & Clothier

McKettrick sweater dress

Newark, N. J. — Kresge-Newark
san Francisco, cal. — H. Liebes

Betty Barclay striped sheath

Atlanta, CA.— Rich’s, Inc.

BIRMINGHAM, ala. — Loveman, Joseph & Loeb

Memphis, tenn. — Lowenstein’s

new Orleans, la. — Maison Blanche

new YORK, N. Y. — Stern’s

Washington, D. c. — Woodward & Lothrop

Henley Junior sunset plaid dress

MIAMI, FLA. — Jordan Marsh
Newark, N. j. — Hahne & Co.
tampa, fla. — Maas Brothers

Betty Barclay cheeked sheath
and jacket

Birmingham, ALA. — Loveman, Joseph & Loeb
new Orleans, la. — Maison Blanche
Washington, D. c. — Woodward & Lothrop

Sue Brett striped dress

Atlanta, ga. — Regensteins Peachtree
NEW YORK, N. Y. — Russeks
Philadelphia, pa. — Gimbels
Pittsburgh, pa. — Gimbels

Color portrait of Don Murray by Powof-
ny; Tony Perkins by Fraker; Joan Collins
by Powo/ny; Dorothy Malone by Mar-
shutz; Diana Dors by RKO.

that father love, never fulfilling a normal
man-woman relationship.

Her closest companion when she was
little was her mother. Mrs. Taylor, the
former Sara Sothern, had been an ac-
tress but gave up her career to marry
art dealer Francis Taylor. The mother
apparently turned her drive for a theatri-
cal career to her beautiful child.

At eight Elizabeth began to act. At ten
she was an M-G-M star, playing an Eng-
lish girl in “Lassie Come Home.” She
did not grow up with other children her
own age She attended school on the
M-G-M lot and worked for the salary of
an adult.

“Elizabeth was always very much under
her mother’s thumb and her mother al-
ways idolized her,” one M-G-M worker
told a reporter recently.

“At home there were six to twelve pic-
tures of Liz in every room. Posed alone, or
with her mother. You’d never have known
there was a Taylor father or that Liz had
a brother.”

Four years of Elizabeth’s career formed
a wedge between her parents. They
separated for a time.

Liz told a friend, “It was no special loss.
I had felt fatherless for years, anyway. I
looked upon my agent and Benny Thau
of M-G-M as my two fathers. I went to
them for help and advice.”

About this time Elizabeth, fourteen, had
an unsettling experience that usually hap-
pens to girls at a later age. She grew up
physically. The beautiful brunette with
the violet eyes and heavy eyebrows never
passed through an awkward age. She
developed the curves of a woman. While
other girls were thinking about dates and
buying a brassiere, Elizabeth was being
eyed — even chased — by older men.

She was wise enough to realize her
physical maturity didn’t match her emo-
tional outlook.

“I had the emotions of a child but the
body of a woman,” she has often and
proudly confessed in interviews.

Elizabeth cared little for schooling. She
gave up her education after high school
and plunged into a series of romantic
upsets. As a teen-age femme fatale she
was engaged to football hero Glenn Davis
at sixteen and to wealthy William Pawley
at seventeen. Between boyfriends she met
Wilding, then thirty-six, and flirted with
him. Even then she was fascinated by
older men.

Middle-aged producer Howard Hughes,
who rarely missed a promising beauty,
courted Liz furiously when she was seven-
teen. But suddenly she fell in love with
someone closer to her age, Nicky Hilton.

Elizabeth denied recently to magazine
writer Eleanor Harris that she married
Hilton to dodge her over-protective
mother. At any rate, the marriage, begun
with a spectacular ceremony arranged by
her studio, ended in divorce.

Elizabeth suffered through her divorce
hearing in tears. I remember when she
sat in the judge’s chambers after the
session, her little girl face frightened and
swollen from crying. During the Hilton
marriage she suffered a nervous break-
down. But she always has refused to
visit a psychiatrist to get help.

Married at eighteen, she was divorced
at eighteen. She refused to return to her
parents. Most girls her age were living in
college dormitories when Elizabeth took
an apartment with a girlfriend.

She apparently is a girl of impulsive
relationships, who can love one man in-
tensely one day but adore another the
next. She was declaring her devotion to
director Stanley Donen when she left
Hollywood for London to work in a
movie. In London she was entranced to

again meet Michael Wilding. Forgetting
Donen, she proposed to Wilding. He
wanted to wait, thinking this young, emo-
tional girl would change her mind. But
she insisted on a wedding.

Their marriage was outwardly calm.
Liz had two children and even felt like
giving up her career and staying a house-
wife. But her emotional problems con-
tinued. She suffered constant illnesses,
many possibly psychosomatic. She com-
plained of back trouble, and a sore knee.

Wilding once said she acts like a little
girl in many ways. She never notices the
time and is constantly late for appoint-
ments. She never learned to cook and
runs her house with great informality,
even carelessness. She is wildly enthu-
siastic about presents and squeals with
joy when someone brings her a gift.

On hindsight, Liz’s friends think she and
Wilding split up last July for a number
of reasons. Apparently the dissatisfaction
was on both sides. Their pals say Wilding
was restless to be back with his older,
sophisticated crowd in London, where he
would not be Mr. Elizabeth Taylor and
where his career would be more suc-
cessful. And Liz, they say, was just as
anxious to try to find her emotional free-
dom and maturity on her own.

“I’ve developed a complex about Eliza-
beth,” Wilding said shortly before their
split-up. “I thought I’d influence this
trembling little creature and guide her
along life’s stony path. Not at all. Lately
I’m simply told to shut up.”

Perhaps her break with Wilding and
her romance with Todd is a sign she is
seeking a more adult, satisfactory rela-
tionship. But most of the evidence points
to the fact the troubled star still is a child
struggling to grow up and find peace of
mind, torn still between the demands of
the woman and the child. This, essen-
tially, has always been her problem — and
her dilemma. Whether or not marriage
to Mike Todd will solve it, no one can
say. Nor, for that matter, can anvone
say with any certainty that Todd will be
Elizabeth’s third husband.

There are several reasons for doubt in
this romantic sweepstakes. For one
thing, Liz had not even filed for divorce
at the time she fell for Todd — her free-
dom was a thing of the future. Some of
her observers believed that by the time
she was a divorced woman, she and Todd
would have moved on to other attach-
ments.

There even are some cynical observers
of the Hollywood scene who suggest
Todd’s whirlwind courtship of Elizabeth
was partly motivated by the opening of
his picture, “Around the World in 80
Days.” Being successful in business, Todd
was excited enough to try a giddy ro-
mance, they say. But Mike Todd issued
the flat statement, “I’m in love with Liz —
in love for the first time in my life.”

As for Elizabeth, her one published
statement regarding her feelings for Mike
Todd was, “I love him madly — passion-
ately— why not9” At the time, practically
everyone thought she was kidding.

But it is safe to say that Elizabeth Tay-
lor is not yet sufficiently adult to be able
to make a choice between the need for
a father and the equally strong need for
a husband-companion. When she mar-
ries again, she will once more find, in her
third husband, as she found in her second
husband, someone who will seem able to
fill both needs. If he can and does, Eliza-
beth Taylor will be a very happy woman.
If he cannot or does not, we and Reno
have not seen the last of Elizabeth.

Knowing better now what she wants,
the chances are pretty good that she
might get it. The End

You’ll see: Elizabeth Taylor in “Giant.”

GOOD V FAIR

A — ADULTS F — FAMILY

iW/ EXCELLENT p'V'p'' VERY GOOD

For fuller reviews, see Photoplay for the months indicated. Full reviews this month are on page 6.

V'V'V'V' AMBASSADOR’S DAUGHTER, THE—
U.A.; CinemaScope, Technicolor: Delicious roman-
tic comedy, shot in Paris. GI John Forsythe falls
in love with Olivia de Havilland. She’s daughter
of the U. S. ambassador; he thinks she’s a French
model. (F) October

ATTACK!— U. A.: Slashing, often horri-
fying drama of war in Europe. Strong all-male cast
is led by Jack Palance, as a fighting man, and
Eddie Albert, as an officer whose cowardice en-
dangers the GIs. (A) November

BAD SEED, THE — Warners: Deliberate
shocker casts Patty McCormack as a child who has
inherited homicidal tendencies. Nancy Kelly as
the murderess’ distraught mother. (A) December

V'V'V'V BEST THINGS IN LIFE ARE FREE,
THE — 20th; CinemaScope, De Luxe Color: Musi-
cal success saga of the 1920’s. Gordon MacRae,
Ernest Borgnine, Dan Dailey are a composing
team; Sheree North is Gordon’s girl.(F) November

BETWEEN HEAVEN AND HELL— 20th;
CinemaScope, De Luxe Color: Boh Wagner draws
a juicy role as a spoiled Southerner who’s an
Army misfit in the Pacific. Terry Moore's seen
briefly as his wife; Buddy Ebsen’s an Army pal
who changes Bob’s outlook. (F) November

WW BUS STOP — 20th; CinemaScope, De
Luxe Color: In a touching comedy of love, Marilyn
Monroe does her finest work as a honky-tonk gal
boisterously pursued by innocent cowboy Don
Murray, a welcome new face. (A) November

/V CHA-CHA-CHA-BOOM! — Columbia: Care-
free musical, loaded with Latin rhythms, sends
promoter Steve Dunne to Cuba to discover Perez
Prado and his men. (F) December

VV DEATH OF A SCOUNDREL— RKO : George
Sanders neatly plays the suave rogue, tycoon just
asking to be murdered. Among his women: Yvonne
De Carlo, Zsa Zsa Gabor. (A) December

V'V'V'V' FRIENDLY PERSUASION— A. A., De
Luxe Color: Warmth, gentle humor illuminate the
story of a Quaker farm family in Civil War days.
Gary Cooper, Dorothy McGuire are parents of
teenagers Tony Perkins and Phyllis Love and little
Dick Eyer. (F) December

VW JULIE — M-G-M: Taut, hard-driving sus-
pense movie. Fleeing death threats from her in-
sanely jealous husband (Louis Jourdan), Doris
Day returns to airline-hostess work. Barry Sulli-
van’s her loyal friend. (F) December

V'V'V'V' LAST WAGON, THE— 20th; Cinema-
Scope, De Luxe Color: In a cracking good frontier
drama, killer Richard Widmark shepherds a group
of orphaned teenagers (including Felicia Farr,
Nick Adams, Stephanie Griffin) through an Apache-
haunted wilderness. (F) October

WW LUST FOR LIFE — M-G-M; CinemaScope,
Metrocolor: Beautiful film about the painter Van
Gogh’s turbulent life. Kirk Douglas gives an im-
passioned performance in the lead; Tony Quinn’s
excellent as Gauguin. (A) October

WW MOUNTAIN, THE — Paramount; Vista-
Vision, Technicolor: Splendidly forthright duel
of character between brothers Spencer Tracy and
Bob Wagner, as they climb to reach a wrecked
plane in the French Alps. (F) November

OPPOSITE SEX, THE— M-G-M; Cinema-
Scope, Metrocolor: Glittering, witty tunefilm. Wife
June Allyson loses Leslie Nielsen to sly Joan

Collins. Ann Sheridan is June’s pal; Jeff Richards,
a lady-killer. (F) December

VW PORT AFRIQUE — Columbia, Technicolor:
Colorful whodunit, shot in French Morocco. Aided
by refugee Pier Angeli, Phil Carey investigates his
wife’s murder. (A) November

1/^1/ POWER AND THE PRIZE, THE— M-G-M,
CinemaScope: Thoughtful drama of big business.
Bob Taylor’s a hard-headed American executive,
who learns humanity from DP Elisabeth Mueller,
striking newcomer. (A) December

V'V'V'V' RACK, THE— M-G-M: Deeply under-
standing close-up of an officer on trial for collabo-
ration in a Korean prison camp. Fine acting by
Paul Newman, as the defendant, Walter Pidgeon,
his father, Anne Francis, his sister-in-law, Edmond
O’Brien, defense attorney. (A) June

VV SECRETS OF LIFE — Buena Vista, Techni-
color: Interesting but patchy documentary of birth
and the fight for survival among plants, insects,
water creatures. (F) December

VW SHARKFIGHTERS, THE— U.A.; Cinema-
Scope, Technicolor: Brisk action picture shows
Victor Mature leading risky World War II ex-
periments off Cuba, to find a shark-repellent. With
Karen Steele, James Olson. ( F ) December

V'V'V'V' SILENT WORLD, THE— Columbia, Tech-
nicolor: Beautiful, exciting, true adventures of
aqua-lung inventor Cousteau and his men, ex-
ploring ocean depths. (F) December

V'V'V'V' SOLID GOLD CADILLAC, THE— Colum-
bia: Laugh-loaded spoof of big business. Small
stockholder Judy Holliday snoops into the di-
rectors’ dealings, (they’re crooked), pursues Paul
Douglas, the firm’s ex-boss. (F) October

V'V'V'V' TEA AND SYMPATHY— M-G-M; Cine-
maScope, Metrocolor: Sensitively and subtly done,
ibis drama casts John Kerr as a college boy ac-
cused of being a sissy. For understanding, he turns
to the older Deborah Kerr, wife of instructor
Leif Erickson. (A) November

VW TEENAGE REBEL — 20th. CinemaScope:
Fresh, heart-catching study of a parent-teenager
relationship. Wed lo Michael Rennie, Ginger
Rogers tries to win over Betty Lou Keim, resent-
ful child of her first marriage. (F) November

TENSION AT TABLE ROCK— RKO, Tech-
nicolor: In a lively Western, Dick Egan's accused
of murder, helps sheriff Cameron Mitchell fight
rowdies. (F) December

TOWARD THE UNKNOWN— Warners,
WarnerColor: Bill Holden and Lloyd Nolan are
first-rate as airmen testing new jets, facing per-
sonal problems, vying for Virginia Leith. But the
planes steal the show. (F) December

/W UNGUARDED MOMENT. THE— U-I, Tech-
nicolor: Serious, though a bit sensationalized.
When schoolteacher Esther Williams accuses stu-
dent John Saxon of attempted attack, only detec-
tive George Nader helps her. (A) December

WW WEE GEORDIE — GO, Technicolor: De-
lightful British comedy, with lovely Scottish back-
grounds. Shy athlete Bill Travers winds up com-
peting in the '56 Olympics. (F) December

V'V'V'V' YOU CAN T RUN AWAY FROM IT—
Columbia; CinemaScope, Technicolor: Sparkling
musical teams runaway rich girl June Allyson with
debonair reporter Jack Lemmon. Nice combo of
laughs, sentiment, song. (F) December

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( Continued from page 23)

It’s part of his charm, this mercurial,
quixotic, puzzled and puzzling approach
of Tony’s to all questions, great and small.
And through it all, he’s squirming like the
small boy he seems to be beneath the ser-
ious, dedicated actor that he is. He twists
from side to side during an interview.' His
fingers travel lightly over the table in
front of him, toying with a fork, drumming
soundlessly against the cloth, pushing a
nlate away and then drawing it back again.
He ducks his head and peers up at you
chyly when he’s asked a question that, for
any reason, makes him feel slightly ill at
e^se or embarrassed.

Later, you do a double-take and realize
that he wasn’t ill at ease or embarrassed
at all, that Tony Perkins has enough poise
and humor and intelligence to feel at ease
anywhere, with anyone. You realize that
it’s a game he plays, and once you’re on to
the game his face breaks up into a sheep-
ish and very boyish grin. Now he’ll tell
the truth and play it straight. He promises.
And you believe him. But you shouldn’t.

These are the things that make Tony
Perkins a fascinating person to be with.
You never know where you’re at, but you
don’t really care. The important thing, if
you’re female, is that you’re with Perkins
As elusive as a beam of sunlight though
he is, that ingenuous, boyish charm makes
him seem not elusive at all. As complicated
as the inner workings of an IBM calcu-
lating machine though he is, his simple,
shy, straightforward way of answering
questions makes you sure you know all
about him.

It is extremely doubtful that even Tony
Perkins knows all about Tony Perkins.
The first time I met Tony, he had no trace
of a Southern accent. Why should he have?
He was born, raised and educated in and
around New York and Boston.

The second time I met him, after he had
just completed “Fear Strikes Out,” his
Southern accent was so pronounced I had
to comment on it. I said, “I didn’t know
vou had a Southern accent, Tony.” Tony’s
boyish smile broke across his thin, serious,
brown-eyed face. “Ah don’t,” he said.

You see what I mean? So you put down
in your book that he doesn’t have a South-
ern accent and for the next two hours you
find yourself fascinated by the Southern
accent he doesn’t have. Yet you feel, un-
comfortably, that to question him further
-■shout it is going to make you sound stupid.
You should know why he said he didn’t
have when he does have; there is a joke,
a special meaning, tucked away in that
brief dialogue. You want him to think you
got the point of his joke. Later, you think
that maybe it wasn’t a joke, after all. You
resolve that the next time you see him
'hings will be different.

They won’t be.

So you begin to find out about the things
you can understand — the solid, real things
about Tony Perkins which can be dis-
cussed without watching them dissolve
like bits of gossamer.

With the appearance of his first impor-
tant picture, “Friendly Persuasion,” Tony
made the cover of Life magazine. This is
a rare honor for any star and almost un-
heard-of in the case of a brand-new male
star who had not, after all, been cast in
a Technicolor, wide-screen, super-colossal
epic. “Persuasion” is a modest film, made
by Allied Artists and starring Gary Cooper
and Dorothy McGuire. But, except for a
smallich role in “The Actress” a couple of
years back, it served to bring Tony Perkins
to the screen — and to overnight stardom.
He was instantly likened to the late James

Little Boy — Tony Perkins

Dean, although he is as unlike Jimmy as
it is possible for anyone to be. The “like-
ness” was based mainly on the fact that
Tony, like Jimmy, brings out the mother
in every woman, young and old. They
yearn to brush back his tumbled hair, to
straighten his tie. He has a quality of lone-
liness, too, such as Jimmy had, but Tony’s
isn’t the loneliness of frustration and re-
jection. It is the loneliness of a man
who is searching within himself for all the
answers.

That explains those rapidly shifting
moods. Whereas Jimmy Dean’s moods set-
tled on him like a black cloud, and stayed
there, Tony’s are brief, sometimes uncon-
scious moments of absenting himself from
the present scene, the present company.
Jimmy was often deliberately rude. Tony
is often rude, but doesn’t know he’s being
rude, and is instantly contrite when made
aware of it.

Or so he says, and you believe him, ab-
solutely. How could you not believe him
when he looks up at you with those ser-
ious, dark eyes, when he speaks to you in
that shy, halting, little-boy’s voice that
says, “I don’t know where such stories get
started — or,” he adds after a minute’s re-
flection, “yes, I do, too. I know where one
of them got started, because I made it my
business to track it down. And,” with a
rueful shake of the dark head and an ex-
pressive gesture made with thin, long-
fingered, strong but graceful hands, “I’m
surprised, I really am. I mean, how some-
one I’d thought of as a friend. . His
voice trails off, the dark eyes are lowered,
and his entire posture becomes one of de-
jection. He has been hurt, deeply hurt, by
this betrayal. He has said so. His voice,
his eyes, his bodily motions and expres-
sions have all said so. And you feel as out-
raged as he. It doesn’t occur to you until
later to wonder whether there wasn’t a
glimmer of humor in those serious eyes, a
hint of a smile hovering about the wide,
sensitive mouth.

Was he just acting again, watching his
audience’s reaction to his different por-
trayals of Tony Perkins? Because this boy
is a superb actor, make no mistake about
that. He can be anything to anyone, at a
moment’s notice. This is not insincerity.
Rather it is the test of a truly great actor,
this ability to drop one coat and put on
another before the audience is even aware
that a change has been called for.

That’s why Tony only smiles when you
ask him what he thinks of being called “a
young Gary Cooper.” This is sheer non-
sense, since Tony’s acting range is enor-
mous, whereas Cooper, fine actor though
he is, has always been limited in the char-
acters he could portray.

“I think Gary Cooper is a great actor,”
Tony will tell you. “A very great actor. I
studied him every minute of the time we
were working together on ‘Friendly Per-
suasion.’ Not just because I wanted to
mimic him and to increase the feeling that
I was really his son, but because he’s
good. He’s a much better actor than most
people have any idea of. So if people want
to say I’m like him, why, that’s fine.”

He knows, of course, that when audi-
ences see him in “The Lonely Man,” which
co-stars Jack Palance, and “Fear Strikes
Out,” which is Tony’s picture and his
alone, all references to “a young Gary
Cooper” will be forgotten.

In addition to the amazing job of mim-
icking Gary Tony does in “Friendly Per-
suasion,” the “young Gary Cooper” tag
was hung on him because Tony is tall like
Gary (six feet, one and a half inches),
and thin. When I last met him he was in
New York, trying to get back some of the

weight he’d lost; when Tony loses weight,
he goes down to skin and bones. And even
before he worked with Cooper, Tony had
the same slow, almost hesitant way of
talking. But, whereas Cooper’s slow speech
comes from not being sure what he wants
to say, Tony’s is a result of ten things
tumbling into his head at once, so that he
speaks in starts and stops and jerky
phrases because he’s excited and sincere
about something.

A physical characteristic which added to
the “new Jimmy Dean” legend is the fact
that Tony, like Jimmy, wears horn-rimmed
glasses when he’s away from the camera
and the public. He also wears blue jeans
and a white T-shirt, and stirred a mild
ripple of talk when it was reported that
he likes to walk barefoot down Sunset
Boulevard.

“People,” he was told, “are saying that
you did it for a publicity stunt.”

“They are?” said Tony curiously. “Why,
that’s funny. Why on earth would anyone
want to walk barefoot for a publicity
stunt?”

“Then why do you pad along Sunset
Boulevard in your bare feet?”

“Because I like to walk barefoot, that’s
all. Why, I walk barefoot around my apart-
ment all the time, but that’s so little — just
about this big — ” and here he paused to
draw a room of tiny dimensions with the
tines of a fork on the white table cloth
of Sardi’s restaurant, “that I feel like
walking a little farther. So when I have to
go a few blocks to do my marketing and
pick up laundry or something, I walk
barefoot. Now what’s wrong with that?”

Put that way, it seemed, indeed, like a
simple, understandable and altogether un-
premeditated act. Again, you find yourself
feeling indignant toward the people who
accuse Tony of rudeness, of seeking pub-
licity, of being off-beat. He went on to
explain in a small, hurt voice that he
could not see why he had inspired so
much criticism. After all, he pointed out,
he has no vices. He doesn’t drink, he
doesn’t smoke or go to many parties. He
is easygoing, affable. He operates strictly
on the principle of live and let live. What’s
wrong with any of that?

Well, then, what about those stories that
he was beginning to get pretty touchy
about his publicity and that, for instance,
he was cool, to say the least, on the sub-
ject of having anyone do a “home layout”
of his apartment?

“Look,” he said, and again he went to
work with the tines of Mr. Sardi’s fork.
“My apartment is this big. It’s been photo-
graphed from this angle — ” indicating one
corner, “from this angle — ” digging in to
indicate a farther corner, “and from here.
Now,” wearily dropping his fork and lean-
ing back in his chair, “if you’d like to
send someone in to photograph it hanging
from the ceiling, to get a new angle, you’re
sure welcome to do it.”

Since Tony was about to move into a
somewhat larger apartment, that drastic
expedient wasn’t necessary. The move to
the bigger apartment was a decision that
he made when he realized that he was
going to be in Hollywood for a long time
to come. He has a Western coming up,
“Lone Star,” which he is to do with Henry
Fonda. He will make “Desire Under the
Elms.” He will go to Italy to make a pic-
ture that, so far, is to co-star Silvano
Mangano. He has more picture offers than
he can even consider, and he is honestly
and unashamedly very happy about it.

“After all,” he said, referring to those
actors who make a point of sneering at
everything relating to Hollywood — until

they get a chance to go there — “making
movies is a lot better than selling ties in
the basement of a department store oyer
the Christmas holidays while you’re wait-
ins for the ‘right’ part in a play.”

Not that there’s anything wrong with
working in the basement of a department
store, or that Tony wouldn’t do that or
anything else he had to do as part of the
wonderful, heartbreaking, lonely, stimulat-
ing life of being an actor. But he does get
a little fed up with the, “Oh, you’re in
Hollywood making movies now, aren’t
you?” bit.

“You’re supposed to dig your toe into
the ground, hang your head and admit to
it as though you’d been caught stealing or
something. But I just say, ‘That’s right,’
and when they ask whether I wouldn’t
like to do a Broadway play, I tell them I
certainly would and I hope I will. I’m
darned if I see why anybody should apol-
ogize for success. We all work hard for it,
and why not be glad about it when you
get it?”

Tony is carefully making plans, how-
ever, that will keep him from settling
down permanently in Hollywood. He has
bought land on Cape Cod, where his
mother, widow of the late actor, Osgood
Perkins, spends every summer. Since Tony
has a limited amount of money to spend
on real estate (the salaries of young actors
aren’t nearly so phenomenal as people
seem to think), having spent what he had
on Eastern real estate automatically pre-
vents him from buying Western real estate.
Like most creative people, he finds the at-
mosphere in New York much more stimu-
lating than that in Los Angeles. The
theatre, the pace, the constantly shifting
scenes on any busy New York street, even
the change of seasons, in contrast to Holly-
wood’s endless sunshine, are all evocative
of moods — which actors feed on.

Some of Tony’s pet dislikes in Holly-
wood are the ritualistic barbecues, where
a whole day is wasted cooking enormous
amounts of food that no one really wants
and where the talk is nearly always
limited to food and cooking. Tony is a man
who hates to cook and who is usually too
busy or preoccupied to remember to eat.
He is on guard, too, against that day which
comes to so many actors. Once determined
to keep one foot in New York, many ex-
Broadwayites suddenly find themselves
looking about and murmuring, “After all,
what’s wrong with just settling down out
here in Hollywood? After all, where else
could you get all this?” — gesturing to the
swimming pool, to the flowers that bloom
all year long, to the cloudless blue sky and
the lush greenery. “We have everything
out here,” they tell themselves comfort-
ingly, “and the most wonderful part of
all is that we get paid so much money for
enjoying it.”

There’s very little chance that Tony
Perkins will fall prey to that kind of
thinking. He demands too much of himself,
for one thing, and besides, everything in
his background is opposed to it. Tony was
born in New York City twenty-four years
ago. His father, Osgood Perkins, was a
matinee idol of the Twenties. Tony’s
mother was a Wellesley College graduate
and a socialite. After the death of his
father, Tony’s mother moved to Brookline,
Massachusetts. He attended Browne and
Nichols, a fashionable preparatory school
for boys, and was slated to enter Harvard
College. These plans were interrupted
when it was discovered that Tony could
not qualify for the entrance examinations.
Meanwhile he had already indicated a
strong preference for the theatre over work
of any other sort, or over study, for that
matter. He went back to New York, where
he enrolled in Columbia University as a

history major. During the summers he
worked in summer stock. One of his plays
was “The Actress.”

Tony was a junior at Columbia when
M-G-M bought the play. Tony applied for
the role he had played on the stage and,
to his surprise, got it. You may recall that
the movie starred Jean Simmons and
Spencer Tracy. Tony hopes you do not re-
call very much more about it. He would
prefer that it had never happened.

When Elia Kazan was casting for “East
of Eden,” Tony went after that role with
all his heart, but that other young actor
named Jimmy Dean was chosen for the
part. Tony ended up back on Broadway,
playing the part of the young boy in “Tea
and Sympathy” which his good friend,
John Kerr, had played before him and
subsequently played in the filmed version.

“I haven’t been out of work more than
a week in years,” Tony recalls of his act-
ing career. “When I wasn’t on the stage I
was getting some good TV roles. Then,
with ‘Friendly Persuasion,’ my movie ca-
reer really got rolling. I guess you might
sav I’ve been uncommonly lucky.”

This was not said with false modesty,
because Tony pretends no modesty about
his career. He’s shy, but he also knows
that he’s a good actor even while he drives
himself relentlessly to be a much better
one. His personal life is singularly free
of romantic involvements and possessions.
His dates are confined to the young act-
resses with whom he has made films,
namely Elaine Aiken and Norma Moore.
He seldom appears at a Hollywood party.
When he does, he stays just long enough
to make his manners to his host and
hostess, then he’s gone. His room in the
Chateau Marmont, where he lived until
he had completed his third important
movie, was bare of all but the absolute
necessities of furnishings — a bed, a radio
that played constantly, an easy chair, a
table. And while he is not a sloppy dress-
er, he finds that he can get by nicely with
one suit, one sport jacket, one pair of
slacks, one pair of shoes, a couple of pairs
of blue jeans and a few shirts.

The day I lunched with him at Sardi’s
he was wearing a brown sport jacket and
gray slacks. Few heads turned to stare at
him, since "Persuasion,” his first starring
movie, still hadn’t been released. But
when we got outside half a dozen teen-
agers came swarming up to ask for his
autograph. Tony cheerfully obliged.

“The next time you come to New York,”
I predicted, “you’ll be famous. You won’t
be able to walk half a dozen steps without
autograph hounds on your trail. How will
you feel about that?”

He shoved his hands deeply into his
trousers pockets, ducked his head and
looked up at me in that quizzical, humor-
ous way that, before the year is out, he
will have made as famous as Dean made
his slouching walk and Brando made his
mumbled speech. “Why,” said Tony Per-
kins, gently, “I don’t know, but the chances
are I’ll like it just fine.” We shook hands
and I stood there a minute, watching him
go. A young man who looks even taller
than he is because he’s so thin, who seems
to unwind when he stands up, as though
he came in sections, and who combines a
rare gentleness with an equally rare inner
strength. Brown-haired and brown-eyed,
with a boyishness that’s clung to him all
his life and had everyone, including his
schoolteachers, wanting to mother him,
Tony Perkins is going to be this year’s
romantic blockbuster.

Watch him closely. You haven’t seen
his like on the screen in a long time. But
you’ll be seeing him, we promise, for a
long time to come. The End

Don’t fail to see: Tony Perkins in “Friendly Per-
suasion” and ‘‘The Lonely Man.”

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MOVIES,

Giant

Differences in outlook part Rock and Liz, but love keeps them together

WARNERS, WARNERCOLOR

WW Broad in scope, serious in purpose,
the movie based on Edna Ferber’s novel
provides satisfying entertainment. Guided
by producer-director George Stevens, Rock
Hudson and Elizabeth Taylor do their fin-
est work, while the late James Dean has a
fascinating role. Liz arrives in Texas as
Rock’s bride and is taken aback by her
new home’s crudeness, the submissiveness
expected of women, the prejudice against
Mexicans. Parallel to the story of her
marriage goes Dean’s rise from cowhand
to oil millionaire. The grown children of
Rock and Liz bring up problems, as Car-
roll Baker is infatuated with Dean, Dennis
Hopper marries a Mexican. family

Machiko , Marlon , Glenn and Eddie harmonize “’Deep in the Heart of Texas ”

BEST ACTING: HELEN HAYES, INGRID BERGMAN

Finally agreeing to meet Ingrid, Helen Hayes becomes a harsh inquisitor

The Teahouse of the August Moon

M-C-M; CINEMASCOPE, METROCOLOR

V'V'V'V Quaint charm animates this com-
edy of American occupation forces and
Okinawan natives. Likable in bis officer
role, Glenn Ford takes command in a
small town. He’s greeted by interpreter
Marlon Brando (in convincing Oriental
make-up). As Glenn prepares to use Amer-
ican know-how, the villagers hand him a
variety of presents — including a geisha,
exquisite Machiko Kyo. He can’t diplo-
matically refuse the gift, and his efficient
plans go awry. He starts building a tea-
house for the geisha, with help from the
Army. Then headquarters sends psychia-
trist Eddie Albert to find out what’s hap-
pened to Glenn. family

Anastasia

20th; cinemascope, de luxe color
VW When Helen Hayes joins Ingrid Berg-
man, the screen goes electric with acting
power. Though the picture belongs to its
feminine stars, Yul Brynner makes an
attractive rogue. A member of Paris’ Rus-
sian colony, exiled from the Sovietized
homeland, Yul helps circulate the rumor
that Grand Duchess Anastasia survived the
slaughter of the royal family. If he can
find a plausible Anastasia, perhaps he can
get his hands on the fortune left to her.
Ingrid, a haggard derelict with a clouded
mind, is groomed for the role and comes
to believe in it. But the verdict must be
given by Miss Hayes, as the sad, tough-
minded old Dowager Empress. family

WARNERS

The Girl He Left Behind

WV ,rajJ Hunter gets into uniform again,
with a role to match his “Battle Cry” hit.
And Natalie Wood, his co-star in “The
Burning Hills,” now appears more her
sprightly modern self, as a sensible girl
who won’t marry Tab until he’s really
grown up. Self-assured, thoroughly spoiled
by mama Jessie Royce Landis, he flunks
out of college into the arms of his draft
board. The reluctant GI proves no asset
to the peacetime Army. Recognizing that
the boy is no coward, his superiors try
doggedly to make a soldier out of him.
Murray Hamilton draws the best laughs
as a sarcastic sergeant. family

If All the Guys in the W orld . . .

BUENA VISTA

V'V'V'V' If all the guys in the world be-
haved like the guys and dolls of this en-
thralling movie, the world would be a won-
derful place to live in. The spoken words
are in French, German, Norwegian (with
English titles) and American, but the
story has deep humanity appealing to
everyone. Off the coast of Norway, a small
French fishing boat is in trouble, its crew
falling desperately ill, one by one. When
the regular radio conks out, the captain
uses his “ham” set to appeal to any other
amateur operators who may hear him. His
distress signal is picked up in French
Equatorial Africa, where a doctor diag-
noses the sickness and prescribes a serum
that must be delivered by the next morn-
ing— or the men will die. Through other
“hams,” an eager teenager in Paris and a
blinded war veteran in Berlin, the rescue
mission goes on, with a Polish airlines
hostess and American and Norse airmen
also getting into the act. family

Westward Ho the Wagons!

BUENA VISTA; CINEMASCOPE, TECHNICOLOR

VV'V' The material is familiar, but good
details and the imposing presence of Fess
Parker give conviction to this pioneering
yarn. Fess serves as both doctor and scout
for the Oregon-bound group, with stal-
wart Jeff York as his fellow guide. Deal-
ings with hostile Indians take an unusual
twist when a chief wants to adopt the
blonde kid sister of Kathleen Crowley,
who is Fess’s beloved. Her teen-aged
brother and a little Sioux boy are also
involved in the tense climax, giving the
story extra interest for small fry. family

Everything but the Truth

U-I, EASTMAN COLOR

V'V'V Cute kid, able actor, little Tim Hovey
gets himself into a pretty fix in an amus-
ing but meaningful comedy of politics.
Running for temporary boy mayor of his
town, orphan Tim hits civic corruption by
repeating an indiscreet remark of his
guardian, who’s given a $10,000 kickback
to the town’s real mayor on a real-estate
deal. All concerned beg Tim to say he lied,
but schoolteacher Maureen O’Hara has
taught the boy too well. He insists on stick-
ing to the truth, though he’s suspended
from school. Enlisting columnist John For-
sythe’s aid, Maureen turns Tim’s cause into
a national crusade. family

The Silken Affair RK0

V'V'V' David Niven makes every meek com-
muter’s dream come true in this gentle
worm-that-turns story. Accountant Niven
and his equally stuffy wife (Dorothy Ali-
son) have been boring each other quietly
for years. But after he shares a rainy-day
cab with a saucy French model (Gene-
vieve Page), his outlook suddenly changes.
Assigned to check the books of two hosiery
companies, he decides to juggle their
accounts slyly. The failing firm of lovable
old Ronald Squire is made to look like a
great success; the booming modern outfit
of smug Howard Crawford apparently
verges on bankruptcy. Obviously, Niven’s
little adventure is headed for disaster.
But it’s fun while it lasts. adult

Continued from page 6

Man in the Vault RKO

VV As hero of an action yarn, William
Campbell has the usual chores; bashing
and getting bashed; playing around with
a couple of good-looking dames. A skilled
young locksmith. Bill has an offer of a
shady job from petty racketeer Berry
Kroeger, who wants to get at the cash-
loaded safety-deposit box of his boss. At
first, Bill virtuously refuses the assign-
ment, but he lias to give in when sweet-
heart Karen Sharpe is threatened. Anita
Ekberg slinks in and out of the proceed-
ings, as girl friend of a big shot, and
Mike Mazurki’s a strong-arm man. adult

Reprisal ! Columbia, technicolor

VV Good intentions are the best angle of
this Guy Madison vehicle, a Western with
solemn solicitude for the Indians’ cause.
Arriving in a frontier town to file the
deed for nearby ranch land he has just
bought, Guy finds himself in the middle of
a dangerous situation. His neighbors,
three murderous brothers, have just been
cleared by a prejudiced jury, though
everyone knows they lynched two young
Indians. Guy refuses to take sides in the
following controversy, and soon his rea-
son is revealed : His mother was an In-
dian, deserted by her white lover. He
conceals his ancestry, because it would
prevent him from owning land. In his
final choice, he’s influenced by two girls:
Felicia Farr, whose allegiances waver;
Kathryn Grant, a courageous Indian
maiden. family

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VV Red Skelton needs all of his demon-
strated showmanship and gift for clowning
to cope with a creaking plot. A bright-
eyed innocent, lie blows his savings (most-
ly deposited by fiancee Janet Blair) on
phony stock peddled by Allyn Joslyn.
Benny Baker and Vivian Blaine. When
Red realizes lie’s been gypped, he goes
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Curucu, Beast of the Amazon

U-I, EASTMAN COLOR

V'V' Take it as a travelogue, and it’s a
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come out of an Aztec legend. Determined
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partner. This is Beverly Garland. Amer-
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menace of the jungle, from headhunters
to a boa constrictor. family

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( Continued from page 43)

Cai'roll has other facets that link her
to the volatile, tension-ridden “rebels”
who have invaded Hollywood. In one of
the first interviews she ever gave she
admitted that, like some of the others of
the group, she was no stranger to psy-
chiatry. However, she also said that she
does not think of herself as a rebel.

“If we are a bunch of rebels,” Carroll
told me during our lunch, “what we rebel
against is not so much the established
pattern of living or acting, but, rather, the
temptation to let ourselves be made into
something we aren’t.”

Then what are they, these so-called
“rebels”? Certainly not glorified juve-
nile delinquents, although Carroll, you
would say, might have been: child of a
broken marriage, brought up in a small
factory town in Pennsylvania by a mother
who had to scrimp and toil to keep her
family together. And Carroll began danc-
ing professionally in Florida night clubs
in her early teens. But none of that ex-
plains the special quality of her person-
ality— and of her acting — which makes her
one with the “rebels.”

On the contrary, out of that rugged
childhood has come a typical quiet, pretty
girl with good manners, a happy young
wife and mother, one who lets her talent
make its own rules, rather than being
driven by a rabid thirst for publicity,
glamour or money. She has the beauty for
such a pursuit, as could be seen even
with the tweed skirt and the wind-ruffled
hair. Her dark blue eyes, beautifully set,
are surrounded by skin of the clearest
alabaster. “I’ve never had much trouble
with it, thank goodness,” she said. Her
light tan hair was dyed more blonde for
“Baby Doll.” She’s short, a mere five-
feet five, weighing 113 pounds, but even
that would not keep her from throwing
her weight around as a glamour puss, if
that was the way she was inclined.

But she is not so inclined. She's too
much a lady to make such use of her
looks, too much of a rebel to dissipate
her heaven-sent talent in any unworthy
way. Lady and rebel, she is just a lucky
girl who was gifted with inborn talent, an
honest girl who followed the dictates of
that talent on a swift ride to fulfillment.

The swiftness of Carroll Baker’s rise, the
briefness of her apprenticeship for the
demanding Baby Doll role, is also a part
of the “rebel” legend. After the Florida
night clubs she went to New York in 1952,
did a certain amount of television work,
took lessons with Strasberg and made
her Broadway debut in “Escapade.” Then
she won the role of Ruth in Robert Ander-
son’s “All Summer Long,” and was hailed
by the critics as “outstanding” — an accolade
not to be underestimated. Then “Giant.”

In private life, Miss Baker is the wife
of twenty-six-year-old stage and screen
director Jack Garfein. They were married
on April 3, 1955. When we had our
luncheon conversation in New York, she
was carrying their first child.

Dedication to her work is another part
of the legend. Two weeks before the rest
of the “Baby Doll” cast, Carroll arrived
on location in Benoit, Mississippi. She
was there for the single purpose of getting
to know the place, drinking in its character
and color, talking to the townsfolk and
acquiring an accent like that of her tem-
porary neighbors. It is an approach to a
role which Elia Kazan invariably recom-
P mends; but it was Carroll’s talent for ob-
servation and mimicry that caused the rest
of the crew to find, on their arrival, the
authentic Baby Doll waiting.

The Rebel and the Lady

“I'm a compulsive mimic,” she says. “I
act and look and even feel different every
day, according to a play or movie I’ve
seen, or some person who impressed me.
Meet someone with a strange speech pat-
tern— and I immediately take it up. Copy-
cat a character for a stage or screen role
— and I’m stuck with her mannerisms for
weeks. After ’Baby Doll,’ for instance, I
had my thumb in my mouth so much, bit-
ing my nails, fingering my lips — things I’d
never done before — that my husband Jack
said, ‘Look, when are you going to come
out of the woodshed?’ ”

And is being “different” a part of the
legend? The word has often been used
to set “the blue-jean crowd” apart from
often equally talented, equally dedicated,
equally personable contemporaries. If they
are indeed different, what in their lives,
or within themselves, makes them so?

“I can’t speak for the others,” Carroll
Baker said when I put the question to
her. “But, speaking for myself, if I am
different from hundreds and hundreds of
kids who come from small towns and
modest homes, have a dream, and work
hard to make it come true, with, along
the way, the usual quota of adventures
and misadventures, I can’t think how.”

She was born in Johnstown, Pennsyl-
vania, the daughter of a traveling sales-
man named William Baker who later be-
came a farmer. This took the family to a
tiny community outside the steel town of
Greensburg, where Carroll and her sister
went to high school. The sister, Virginia,
is now eighteen and married to a boy in
the Air Force. They live in Florida.

While the girls were still quite small,
their parents were divorced. All the same,
Carroll remembers her childhood as hav-
ing many happy moments. Most of them
rose from her passion for pretending, act-
ing out things, singing and dancing. While
her lonely yet cheerful mother bent over
a washboard — a picture Carroll carries
with her indelibly — the two played a game
of pretend, with Carroll as the tiny leading
lady, her mother and sometimes her sister
in supporting roles. They had a regular
repertoire of scenes, which Carroll wanted
to play over and over. “Then my mother
would say, ‘Leave me alone. I have to get
back to work,’ ” says Carroll, with a sigh
of regret even now. “And I’d have to go
back to being just me.”

When she was eleven Carroll began tak-
ing dancing lessons. “What I really wanted
to be,” she says, “and still wish, more
than anything, that I could have been, is
a ballerina. But I didn’t start soon enough.”
Her other ambition, which grew on her
more gradually, was to be a serious actress.
Like Garbo in “Camille,” a picture that
she hastens to see every time she hears
of it playing somewhere. She tried out
for the school plays, but was never given
an acting part. Instead, she danced in all
the school operettas. After she graduated
from high school she went to Florida with
her mother. There she enrolled in St.
Petersburg Junior College, but, already a
professional dancer, she had to leave after
her first semester. “So many dancing jobs
came along that I couldn’t study,” she
says. “And heaven knows we couldn’t
afford to turn them down.”

The pattern changed when she decided
to go to New York and try her luck in
the Big Scramble. Her first jobs were on
TV, and not dancing ones. She did such
things as commercials, small parts in plays,
and for a time even a nightly weather re-
port over a local channel. “One dreadful
night,” she recalls with an expressive
shudder, “I lost my cue card for a report.

I was panicky, and said the first thing
that came into my head. It turned out to
be: ‘There’s a lot of hot air blowing in
from Texas.’ That ended the brief career
of Carroll Baker, Girl Weather Analyst!”

It was after appearing in several TV
dramas that Carroll’s interest in becom-
ing a “serious” actress came to full bloom.
She discovered that the Mecca of all the
“serious” acting ambitions in New York
was the Actors’ Studio.

“On what turned out to be the most im-
portant day of my whole life,” she relates,
“I arrived at the Studio. I had no idea,
of course, that the audition I hoped to get
would come from my future husband, who
was on the Board. But when I opened
the door there he was, behind the desk,
subbing for the secretary who was out
to lunch. I thought him a very odd boy.
Red, sort of bushy hair, workman’s shirt,
gray, collar open, no tie.”

But when Jack Garfein told her his name
she knew who he was. She’d heard about
him as a very promising young director
who had been instrumental in giving a
lot of young players their start. Taking
heart, Carroll asked him how she should
go about getting an audition at the Studio.
There are two auditions, Jack explained,
the first before a board made up of the
students; the second (“assuming you pass
the first”) before the Board of Directors.
At the moment, he added, the roster of the
school was filled up. But, he went on
quickly, she ought to prepare a scene for
auditioning and keep on coming back. “Be
Johnny-on-the-spot,” he told her.

“I kept on coming back,” she says.
“Each time I did, I saw Jack. Each time
I saw him, I was glad. Meanwhile, I’d
prepared a scene from an old Paramount
picture, ‘Sullivan’s Travels.’ Kind of a
depressing little scene, two kids, boy and
a girl, no money, dreary. . . .”

Jack wasn’t present on the board the
night she finally made her audition, but
he saw a rehearsal of her scene in the
studio she had rented for the purpose.
He was an hour late getting there. “I had
to rent the studio for another hour!” she
says, still pained at the waste. His com-
ment was: “You’re so wrong for the part,
it’s amazing you do it so well.

“I have a feeling,” was Jack Garfein ’s
verdict, “that they won’t pass you. But
they may ask you to come back.” They
didn’t do either. Not until after “Giant,”
in fact, did Carroll pass her auditions and
become a regular member of the Studio.
But Lee Strasberg accepted her for one
of his private classes.

The day I went to my first class, Jack
called and asked me for a date,” Carroll
says. On that first date they went — by
subway — to visit friends in Greenwich Vil-
lage. Theatrical people, of course, a set
designer and his wife. After that, the
dates went on. Sometimes Carroll would
fix dinner for them in her tiny apartment,
the menu generally consisting of noodles
stuffed with cheese. For amusement they
went for long walks. (“We still do.”) They
read plays together. Sometimes people
gave them theatre tickets. On other eve-
nings they visited a pianist friend and
listened to her play. Wherever they went,
they used the subway.

“When we did have some money —
after all, we both did work once in a
while — we’d have dinner at our favorite
Chinese restaurant,” Carroll relates. When
they were really in the chips they went
to the Russian Tea Room, an artistic hang-
out near Carnegie Hall, where Jack could
indulge his passion for the shashlik.

On one occasion when finances were at

a low ebb, Carroll was offered a wonder-
ful job: a cigarette commercial. “Only I
1 don’t smoke!” she wails. She needed the
work so badly, however, that she decided
to bluff her way. At the first interview
they liked her looks, young, “sort of
normal,” as she puts it. “They said I
‘went well’ with the boy they had in mind
I cor me to work with. Then they asked,
When you smoke, do you inhale deeply?’
Oh, of course I do!’ I said fervently.”

They gave her a carton of cigarettes and
f she went home and smoked and smoked,

> coughing all the while, and succeeded in
I; making herself deathly sick. At the second
1“ interview, they liked the way she read

the lines. Then came the moment she
/•! had to inhale.

“I took a tremendous draw, and didn’t
cough at all. But tears came to my eyes,
spilled over, splashed. The atmosphere
ti chilled. They still liked me very much,

■ they said, but . . .” Nevertheless they gave
i! her more cigarettes to take home. Again
! | she smoked and coughed herself sick. At
i the final audition, though, she inhaled per-
il fectly, and the job was hers. A commer-
cial, of course, has to be perfect; move-

1 ments, expression, everything, has to be
I, just right. Filming the tiny sequence
a went on for nine hours, shooting it over
■J and over again. When Carroll reached
)l home she was so horribly sick she wanted
>:! to die. And the next week, the check she
f| received came to just half of what she
ii;j had expected.

“But it turned out that for six months
p' you’re paid fifty dollars every time they
| show the commercial. That was marvelous.
For the next six months Jack and I ate

> regularly at all the nicest restaurants!”

The two youngsters were most prosper-
ous during the Broadway runs of “Esca-
s<! pade” and “All Summer Long.” But plays
ill run just so long, and it was just as their
i! money ran out once more that they de-
ij cided they wanted to get married. Since
rt| this was to be for keeps, they wanted
t; to do it nicely, but how, with no money?
[' Then Lee Strasberg invited them to have
d the wedding in his midtown apartment.

“I decided to make my own wedding
b(: gown,” Carroll says. “I bought yards and
r vards of off-white silk crepe and a pattern.

1 Then I rented a portable sewing machine
• and went to work. It was a very intri-
v cate pattern. Long, tight sleeves, a form-
;i fitting tucked bodice and a bustle for un-
I derneath. A long, long skirt which Jack
f hemmed up for me. That turned out to
i;! be a little crooked, but the skirt was
i so long it didn’t matter. For the head-
i dress I used net with seed pearls sewn
on it, one by one. At five o’clock on the
>! morning of the wedding I was still work-
|[ ing on my dress. At seven o’clock I rushed

■ over to the Strasbergs to press it. While
the guests were arriving, I was out in

pi the kitchen ironing!

“Then the rabbi arrived and it was a
beautiful wedding, with champagne, flow-
ers, cake and Susan Strasberg dressed in
i|. lavender. She was my maid-of-honor,
!* carrying a small, sweet bunch of violets,
'C: and I carried white camellias to match
my beautiful wedding dress. A Baker
Original!”

Three weeks after the wedding, Car-
1 roll received the script of “Giant.” When
she reached Hollywood, she borrowed on
her salary so that Jack could come out,
too. It was wonderful for him to watch
■i George Stevens at work and, later, Elia
e Kazan. While Carroll was in Mississippi
Jack was with her there, too. “Cheaper
i for him to fly down than for me to call him
|, every day!”

! Then, last summer, Jack got his big
| break when he directed “End As a Man,”
I starring Julie Wilson and Ben Gazzara,

for Columbia. He’s preparing now to direct
“The Girls of Summer,” a new play star-
ring Shelley Winters, which will open
on Broadway. The young couple have
taken a new apartment in New York. “I
could write a sonnet to the dishwasher!”
says Carroll.

Are the members of “the blue-jean set”
different, then? “I don’t think that we
are different within ourselves,” says Car-
roll. “I just think our values are different.
We’re not impressed, that is, by the big
car, big house, swimming pool, bosomy
blue mink glamour routine. Most of us
laugh at it. We want to live nicely but
we have a sharp eye out for the future.
We save our money.

“Because Jack and I don’t go out much,
don’t smoke, don’t drink (we like a little
wine), and spend most of our time at
home, we put out more on rent than we
might otherwise do. Also a lot on books
(old cookbooks are my hobby) and rec-
ords. But we sort of arrange our budget
so that if there is an extravagance, it’s
balanced by an economy. In our bed-
room we have a huge bed and nothing
else but that! For our all-white living-
room with its salt-and-pepper cotton car-
peting we found a drapery material we
were crazy for. Then we found out that
the cost, including the making, would be
$700, so we said, ‘We’ll wait a few months.’
When the painters made a mistake and
painted Jack’s study pink and the baby’s
room cream and would only do one of
them over for us, for free, we had only
Jack’s study done over. The baby will
just have to get along as is!”

Carroll thinks the motives of her group
may be a little different. Their drive is to-
ward finding themselves as actors, being
in good things, working with good direc-
tors. Their concern is focussed on bring-
ing alive the characters they portray so
that people will forget the player in
watching the play.

“Sometimes I think we are a little too
relaxed, go overboard a little about the
way we dress,” Miss Baker admits. “Uh-
huh, the blue jeans. Actually, though,
the jeans were an economy measure, a sort
of occupational necessity, rather than slop-
piness or a wish to be ‘characters.’ Now
that the Actors’ Studio has moved to a
better building, the blue-jean trend is
changing. Not that I, for one, will ever go
to the other extreme. I’m afraid I don’t
care for the glamour things. Don’t care
for furs. Just kills me to put out money
for jewelry. Not crazy about perfume.
Except for sweaters and skirts and tweeds
and good leather purses and shoes, which
I love, I’m not very clothes conscious.
But I do take time to put on a dress, try
to look nice, when I go out. I don’t want
to be conspicuous either way.

“I don’t suppose that Jack and I will
always live as simply as we do now, in
a lovely but relatively small and inex-
pensive apartment. As your family in-
creases, your demands increase. When
there is a baby, there has to be someone
to watch him. As your career grows, and
you play star parts, you’re too tired to
come home and cook. But when you do
have a bigger home and more help, you
have them not for display but because
they’re necessary. As, for a time,” said
Miss Baker, with a lift of the eyebrow,
“the wearing of the blue jeans was!

“What it all comes down to is this. Our
difference, if there is a difference, is that
we want to live our lives in our own
way, not in the way, whatever it may be,
movie stars are supposed to live.”

So speaks a lady. And, in her own
sensible, balanced way, a rebel. Most of
all, a superb actress destined to bring all
of us many hours of pleasure. The End

Plan to see: Carroll Baker in ‘‘Baby Doll.”

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Heritage of Love

( Continued, from page 51)

“I can take my time with my career,”
says Jim, with all due modesty. Besides,
he’s not sure that he wants to be an actor
— although he greatly enjoys acting — and
either way he is determined to get a well-
rounded education as part of his prepara-
tion. “The most important thing for an
actor is versatility,” he feels. He believes
that experiences are “like building a
pyramid” — the more you add and the
higher you get, the closer you come to
your goal.

According to Jim, “Harvard’s great,”
and he seems to relish particularly the
fact that there are no restrictive rules.
He is also pleased to have met many
different types of young men at Harvard.
“I’m pretty adaptable,” he grins, leaving
it unsaid that he gets along fine with
almost anyone.

Although Jim is putting college before
career, don’t think that you won’t be
seeing him for the next four years. On
the contrary. He is under contract to
RKO to make a picture during each of
his next three summer vacations. In addi-
tion, he has been approached frequently
to work on television and plans to accept
roles during vacation times, provided
they do not interfere with his studies.

Being in the limelight is not exactly a
new experience for Jim. Indirectly, he
has been there most of his life, as the
son of the late Charles MacArthur, Pulitz-
er Prize-winning playwright and ace
reporter, and of the first lady of the
American theatre, Helen Hayes.

Jim first bounced into the acting spot-
light in the spring of 1955, when he made
his TV debut in “Strike a Blow” on
Climax! His performance prompted raves
from critics and viewers alike and led
to his contract with RKO. Since making
“The Young Stranger,” he has been hailed
in show-business circles as a real “comer.”
Talent- wise, he has again proved to be an
exception, displaying a veteran’s ability.

“The Young Stranger” is the film ver-
sion of the award-winning “Strike a
Blow.” In both, Jim portrays the central
figure — a young boy who has to fight for
his rights and who wants to be judged
for what he is, rather than for what
someone has said about him.

This desire to be judged on his own
merits is also a vital part of Jim’s make-
up, and thus far it has had rewarding
results. Kim Hunter, who portrays Jim’s
mother in “Stranger,” says of him: “It’s
amazing that a youngster with no formal

training can have such a sure-footed
knowledge of acting. Heritage is a won-
derful thing.”

His heritage, indeed, has played a big
part in Jim’s life and work so far. The
main part of it has been a warm, en-
compassing sense of being loved, with the
perhaps special love which goes to an
adopted son. Then there is the intensely
theatrical background with which he was
always surrounded. But equally important
have been a strong common sense and a
willingness to stand on his own two feet,
the seeds of which were planted early in
Jim’s childhood. These qualities have en-
abled him, among other things, to look
upon his notable background with an
appreciative as well as realistic eye. Con-
sequently, Jim regards his famed name
as both a glowing asset and a heavy
responsibility. While he is grateful that
it has brought him opportunities other
young men must struggle to find, he has
also learned to count its cost. “It’s tough,
sometimes,” he says, “to have everything
I do associated with them, but I still think
my folks have been the greatest.” His
reasons for saying this are legion.

Growing up in Nyack, New York, Jim
lived in an atmosphere of mutual love
and respect. In spite of his parents’ noto-
riety and the many celebrities who con-
stantly visited the rambling Victorian
home of the Mac Arthurs, Jim was allowed
to develop normally and to partake in all
the usual boyhood activities. He was never
rigidly disciplined, nor did he get into any
major mischief. “Sure, there were times
when my folks didn’t want me to do
certain things,” he shrugs, “but they
never absolutely forbade me. And, be-
sides,” he grins, obviously thinking of the
times he did act against their wishes,
“they were always right.”

Jim recalls being the recipient of a
spanking only once, “when I was about
four or five. I crawled out on the roof
outside my father’s room, and when he
told me to come back in, I just laughed
and kept going. So my father came out
after me, hauled me in and paddled me
with a hairbrush.” He adds thoughtfully,
“I think a talking-to is more effective,
myself.”

There was always plenty of good talk
in the MacArthur household, for the
whole family loved to get into what Jim
calls “hot discussions,” {Wen though “my
father always won the arguments.” How
come? “Well, we’d be arguing along, then
my father would use about five big words
in a row that I didn’t know and I’d have

to go look them up in the dictionary. By
that time,” he grins, “the discussion had
sort of disssolved.”

Charles MacArthur was an intensely
brilliant man who was also noted for
speaking his mind. Jim was keenly aware
of his father’s strong personality and, al-
though their relationship was not of the
typical father-son type, Jim has his share
of fond memories. Oddly enough, in relat-
ing them he never refers to “Dad,” bu>
always to “my father.”

“We never went on fishing trips to-
gether, or things like that,” he says, “bv
then neither of us liked to fish, anyway
Actually, just going someplace with m'
father was exciting to me. And when I wa
away at school he’d call me up once r
week and tell me about everything tha
was going on.”

Jim also recalls that often, when he wa-
little, his father would approach hirr
fists raised, ready to box. The first fev
times this happened, Jim just stared back
at him. Then his father would say, “You’re
not ready yet.” Later, when Jim began t<~
catch on, they would have sparring bouts
“My father would always look at you:
feet, and keep looking at them. It was
very distracting,” he says, as if still ?
little confused. “Then before I could do
much,” he adds rather sheepishly, “he’d
step on my foot and I’d lose my balance.’

Many times, Jim remembers, when he
had come into a room where his father
happened to be, Charles MacArthur would
look up at his son and say, out of the
blue, “Whatever you do, don’t become
an actor.” Nor was Helen Hayes anxious
to push Jim in the direction of dramatics
She didn’t try to discourage him from
becoming an actor, but she did insist upor
his being educated in normal fashion
“That’s why she didn’t send me to the
Professional Children’s School,” says Jim
“and I’m glad she didn’t.” Instead, he at-
tended Solebury School in New Hope.
Pennsylvania, where he starred in basket-
ball, football and baseball.

If, after college, Jim decides that actine
is still for him, he then plans to take
dramatic courses. This his mother has
strongly advised. Always in their close s
mother-son relationship, Helen Hayes has
done a great deal toward giving Jim a i
sound outlook and constructive advice.
She was also inadvertently responsible for
such dramatic training as he has received.
“When my mother was getting ready for
a play,” Jim recalls, “I would hold the :
script and read the other people’s parts
to help her learn her lines. I suppose,” he *
adds, “some of her way of doing a role ^
has sort of rubbed off on me.”

Some of the actual atmosphere of th<
theatre also rubbed off on Jim. Several i
summers ago, during a Helen Hayes festi- ‘
val at the Falmouth Playhouse on Cape
Cod, Jim had a few walk-on parts. He
also helped the theatre electrician and, in
fact, grew so interested that he begged
to be allowed to stay on after Miss Hayes'
plays had ended. As a result, he lighted
the show for Barbara Bel Geddes in “The
Hut” and for Gloria Vanderbilt in “Tfv
Swan.” Recalling this, Miss Hayes says. •
with a fond motherly chuckle, “I’m sure
the stars would have died had they known
there was only a sixteen-year-old boy
on the lights!”

Two summers ago, Jim again had the
privilege of working with his mother when
she headed the company that presented
“The Skin of Our Teeth” in Paris. Miss jj
Hayes has long been noted for getting , .
stage-fright before every performance. ,
Jim confirms this fact, saying, “She’s al-

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ways a bundle of nerves before going on,
and it’s always bedlam backstage.”

Although Jim was allowed to absorb a
great deal of theatre atmosphere, both his
parents refused to let him be exploited
throughout his early years. They con-
tinually rejected suggestions for a play
for Jim — until the script of “Strike a
Blow” was submitted. This one pleased
them, and they gave the go-ahead signal
that was to launch Jitn as an actor in his
own right.

Jim has also had his share of the jitters,
though “more on the stage and TV than
in movies,” he explains. “But once I get
into it, I’m not nervous.” Jim found his
biggest problem in making his first movie
last summer was the confusion and noise
on the set. At first he thought the crew-
men were a bored, uninterested lot, but
before long he changed his mind. “They’re
a swell bunch of guys,” he says now. He
especially enjoyed playing cards with
them, “although I lost about half my
salary at it!”

Jim has also been initiated into another
phase of Hollywood life — gossip. One
morning he was greeted by a newspaper
item stating that he was engaged to Joyce
Bulifant, his high-school sweetheart. The
statement happened to be untrue. He
sought advice as to what to do about it,
and was advised by his agent to “Just
let it go.” But, even after he had re-
turned East and was registering at Har-
vard, the gossipy tongues were still wag-
ging. Waiting for Jim on registration day
was a letter from his mother, who was in
Hollywood, stating with concern that she
had heard, not from one, but from four
or five sources, that he was engaged to
a young girl out there. It wasn’t that she
is against his getting married, Jim ex-
plains, “But she doesn’t want to hear
about it secondhand. So,” he adds, “I
called her — collect, of course — and told
her it was ridiculous.”

While on the subject of marriage, Jim
says, “I’ve thought a lot about marriage
— not to someone in particular, but just
marriage in general — and I don’t want to
marry yet. There’s still plenty of time.”

Jim has also thought a lot about acting

— in general and in particular — and, as he
does on any subject, states his feelings
unhesitatingly. Also with a perceptive
and practical attitude that is seldom found
in one so young. “I just have to do what
comes naturally,” he says. “I don’t believe
I could ever follow that method they use
at the Actors’ Studio, where they analyze
every little thing about a character. That’s
wonderful for some people, but it doesn’t
work for me.”

Although he is keenly aware of his
distinguished background and the ad-
vantages it has presented him, he has
never been blinded by it, nor has he
capitalized on it to any real extent. How-
ever, he admits, “I don’t feel I have to go
through the starving-actor routine. It’s all
right for those who want to or need to
do it, but I’m lucky. I don’t have to.”
And, no matter what career he chooses,
Jim says, with the determined confidence
of youth, “I want to be master of what
I do. I don’t ever want to feel I’m a slave
to anyone.” Which again clearly reflects
the sense of independence his parents in-
stilled in him.

Although Jim insists that he has not
decided on an acting career, his thoughts
and actions certainly show he is headed
in that direction. But no one, including
Jim, can predict what will happen after
he fulfills his contract with RKO and after
he graduates from Harvard. At this point,
his life is like a road map — there are many
routes leading to one destination or an-
other, and they are all clearly indicated.
It is up to the driver to choose which one
he will take.

There is no doubt that Jim MacArthur
is a competent driver who has his sights
firmly set on the road ahead. Whether he
will take a super-highway or a short cut
is still up to him, but either way he is
prepared for any detours or delays. His
abilities have already been tested and
not found wanting; from all indications,
his destination should certainly be reached
in the esteemed and enviable manner of
his world-famous parents, Helen Hayes
and Charles MacArthur. The End

Go see: James MacArthur in “The Young Stranger.’*

Religion in

(Continued from page 31)
of religion in Hollywood is the fact that
people who are generally so temperamen-
tal and so emotionally unstable, people
who have usually come up the hard way
and taken enough knocks to drive the love
of humanity out of one’s heart forever,
are actually more deeply emotional than
people whose lives are not subjected to
these fantastic strains and stresses. It
would seem to indicate that the more
worldly we become, the more we realize
the existence of Someone greater than
ourselves. The more powerful we be-
come, the more humble we become be-
cause we understand more than ever how
fleeting are material rewards.

Jeff Chandler is a good example of this.
Over at the Wilshire Boulevard Temole
they will tell you that Jeff is unstinting
in his religious and charity work. “His
services are always available,” they say.
“Whether it be a fund-raising campaign, a
charity bazaar, or any other worthy cause.”
But, although he does go to Temple on
Jewish High Holidays, Jeff is not a regular
church member.

“I believe that a man’s religion is in
the way he lives,” says Jeff, “and has noth-
ing to do with the four walls in which
we pray. I believe in the sincerity of all
forms of worship. I have respect for the

Hollywood

other man’s religion, and for his right to
worship God as he sees fit. My wife,
Marge, is a Protestant, and this has never
at any time been an issue between us.
As for my religious views, they can be
summed up in the words that are part of
Christ’s sermon on the mount: ‘Whatso-
ever ye would that men should do to you,
do ye even so to them.’ This, of course,
is the Golden Rule. I try to live by it.”

Richard Widmark is a man who has
worshiped in many churches, but he says
that he is not an official member of any
congregation or faith. In a devotional
mood, it has been his custom to drop in
at any church whether it be Presbyterian,
Catholic or Mohammedan mosque. Says
he, “I think God hears you wherever you
care to tarry to think about Him.”

Dick admits that he grew up in an at-
mosphere of mixed religious beliefs. “My
father was a Lutheran, my mother a
Christian Scientist, and her mother a Cath-
olic. The result for me was confusion.”
As he grew up, Dick searched for the true
religious belief in one church after an-
other without finding a completely satis-
factory answer. Then one day, in a time
of worry and anguish, the way became
clear for him. “To put it very simply,”
says he, “I turned to God. Since then I
have tried to get in touch with Him daily.

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For many years there has never been a
night when, as my head touches the pil-
low, I have not turned to prayer.”

Rock Hudson, too, has a deep and abid-
ing spiritual faith without being a mem-
ber of any particular church. Rock is a
very sensitive man, and at times he is
quite introspective. He is constantly
searching within himself, and seeking for
true spiritual meanings. Rock and I have
had many talks of a serious nature. I’ll
always remember one remark he made in
a moment of thoughtfulness. Said Rock,
“I cannot understand how it is possible
for anyone to look at a flower and still
deny the presence of God.”

Janet Leigh and Tony Curtis are not
members of any formal religious group,
yet they are truly devout in their atti-
tudes and philosophies. Says Tony, “I try
to reflect my religious principles in the
way I live and do my daily work.” Says
Janet, who is deeply studious, “To me,
God represents a search I must make,
not a goal I have achieved.”

Janet was born into a Presbyterian
family. She has studied and been stim-
ulated by Unitarianism; she has read
Christian Science with deep devotion. She
has found inspiration in all three of these,
but not the final answers. Says she, “I
must always go on seeking.” And, as most
people know, Tony grew up in the tene-
ment districts of New York, and was con-
firmed in the Orthodox Jewish faith.

Have the differences in their religious
backgrounds ever been a problem in their
marriage? “Not once,” says Tony, shak-
ing his head seriously. “Janet and I have
always tried to live with tolerance for the
rights and privileges of each other. And
this goes for religion as well as every
other phase of our married life. To me,
the whole thing boils down to a matter of
honesty. When you are completely hon-
est with yourself and the other person,
then there can be no room for the least
bit of religious intolerance.”

This liberal attitude is reflected in other
Hollywood marriages of mixed religions,
such as with Debbie Reynolds and Eddie
Fisher, and Patti and Jerry Lewis. Some
have said that Debbie and Eddie’s mar-
riage was long postponed because of re-
ligious differences, but those who are
close to them vow that there is not an
ounce of truth in this. Perhaps for this
reason both Debbie and Eddie have been
reluctant to discuss religion in any way.
To one reporter who recently pressed the
question Debbie would only say, “Both
Eddie and I believe in God.”

Both of these young stars come from
religious families. Debbie has attended

the Protestant Church of the Nazarene,
while Eddie is of the Orthodox Jewish
faith. While Debbie was growing up she
attended Sunday school regularly, and she
has a deeply religious turn of mind. Later,
when she was older, she used to go to
Sunday services in other churches just
to learn how others worship God. Before
she and Eddie were married, Debbie went
to services at a Jewish Temple with him.
“I found it a beautiful and deeply moving
experience,” says she.

In the past, Debbie has said that religion
could never be a problem in her marriage.
“I have no prejudices against any re-
ligion,” said she. “I have been brought
up to feel that in the eyes of God we are
all equal.” Now there is a strong possibility
Debbie will accept her husband’s faith for
herself and her children.

To Patti Lewis, who is Catholic, and
Jerry, who is Jewish, their religions,
though different, have become a joyous
daily experience. Just like everything
else in their lives, these two share their
religions with each other and with their
sons. “Sometimes we take our boys to
one church,” says Jerry, “and sometimes
to the other. Someday, when they grow
up, they can choose which church they
will belong to. But for the present, when
they are asked, they simply say, ‘We are
Catholic and Jewish.’ ”

In this spirit of sharing, Jerry always
wears a Catholic St. Anthony medal
around his neck. This was given to him
by Patti, and Jerry says he prays to him
often. “St. Anthony is Patti’s patron
saint,” Jerry explains. And then adds
with a twinkle in his eye, “Patti lends him
to me sometimes.”

Jerry is convinced that God wants us all
to have as much happiness as we can find,
and He does not expect us to be perfect.
"Most of all,” says Jerry, “He understands
us in all our faults and imperfections.”
And with the twinkle still in his eye, Jerry
tells of an incident that occurred on a
Sunday morning not too long ago.

"I had been in one of my mean moods,”
he says, "the way I can be sometimes.
And so Patti and I had a few sharp words
between us. When Patti returned from
church I said to her, ‘Well, did you talk
to the Lord, and tell him all about me?’

“ ‘Yes,’ said Patti, ‘I did.’

“ ‘And did you tell Him that I was mean
and despicable?’

“ ‘Yes, I did that,’ said Patti. ‘But He
told me He’s got great patience with you.’
And then she added softly, ‘And I guess
I should, too.’ ”

In Hollywood, as elsewhere throughout
the Christian world, many have turned
to religion for comfort, inspiration and

peace of mind. Joan Crawford, Ginger
Rogers, Joan Caulfield, Marie Wilson and
Doris Day are among the stars who have
studied the teachings of Christian Science.
And some of them have found here the
religious answers they were seeking. After
a long and serious illness, Ann Sothern
took instruction and became a Catholic.
Jane Wyman, too, after the unhappiness
of her marriage, has turned to Catholicism
and has found solace there. “Jane’s so at
peace with herself,” a friend said recently.
“She seems to have found real happiness.”

There are other stars whose religious
convictions were formed at an early age,
and grew with them into maturity. Ann
Blyth, a Catholic, is one of these. “I was
born into my religion,” says she. “And it
has been with me through my nights and
days ever since. It has been a fountain of
strength and comfort to me through every
illness in my family, and through every
stressing moment of my life.”

Dorothy Malone is another Catholic
whose religious path has been straight
and true, and whose faith has been un-
wavering. “Religion has been much more
than a part of my life,” says she. “It
would be more correct to say that my life
has been a part of my faith.”

Dorothy also says that Catholicism has
solved every problem she has ever had.
“Prayer is very much a part of my daily
life. It has helped me meet many prob-
lems and crises. This doesn’t mean that
my prayers are automatically and quick-
ly answered. Maybe the answer is a long
time coming. And I’ve had to work very,
very hard for it. But in the end, if I
worked hard enough and prayed hard
enough, it usually turned out right.

“To me, religion is a very personal
thing. 1 have built my life around it, and
I believe in living up to my religious
tenets. For my religion embodies what
I think and what I believe in. Thus I am
against divorce for myself. For others,
who believe in it, perhaps it is the right
thing. But I believe that marriage should
be a one-time, all-time contract that in-
volves the important words, ‘Until death
do us part.’ ”

Kim Novak’s attitude toward her re-
ligion is a combination of blind faith and
intelligent curiosity. "I was always asking,
'Why, why, why?’” she says. “And I still
do. In a religious sense I still have much
to learn. Much to understand.”

Kim was born of a Catholic mother and
father, and she grew up in close associa-
tion with her church. But she says that
she didn’t gain any real religious appre-
ciation until she was in her teens. “I
think I was fascinated by the beauty of
the church, and perhaps a little awed by
the pageantry of it all. But I didn’t really
understand it.

“I particularly remember my first com-
munion. It was so beautiful. My dear
grandmother had made my dress for me,
all of embroidery and white lace, and it
made me feel akin to the angels. But it
wasn’t until after my confirmation, when
I was sixteen, that I really became aware
of the glories that can be found in a near-
ness to God.

“At that age I used to take my ques-
tions and my problems to Father Con-
nors of the Church of the Blessed Sacra-
ment in Chicago. My mother and father
were unfailingly patient and understand-
ing with me, but somehow Father Con-
nors could always provide the answers I
sought. He combined a fatherly wisdom
with a true religious spirit.”

Nick Adams, who worked with Kim in
“Picnic,” tells this revealing story: “While
we were shooting the picture in Kansas
we used to pray together every night.
We found a little church near by, and

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after the day’s work we’d slip away from
the others. Kim would put a scarf over
her hair, or sometimes she’d borrow my
baseball cap. And there in the dim-lit
sanctity of that quiet country church we’d
pray for help and strength and guidance.
Once as we knelt there side by side, I
was tempted to glance at her lovely pro-
file, at her lips as they moved softly with
silent words of devotion to God. I re-
membered the words Kim had once said
to me, ‘Nick, everybody needs someone
they can depend on.’ And as I watched
her quiet serenity, I knew that in God,
Kim had found that Someone.”

Are prayers answered? Without hesi-
tation, Russ Tamblyn says a definite,
“Yes!” Russ is a Mormon, as are Terry
Moore, Laraine Day and Rhonda Fleming.
Russ’s wife, Venetia, is an Episcopalian,
and consequently they were married out-
side the Mormon Church. But Russ says
they both live according to the precepts
of the Mormon religion.

“Venetia and I say a prayer together
every night,” says Russ. “I have done
this for many years now; my whole family
prays together. And most certainly our
prayers were answered last February when
my younger brother accidentally shot
himself in the eye with a B-B gun. The
B-B lodged in his eyeball, and when we
rushed him to the hospital the doctor

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shook his head. He said it was very
serious, and my brother would probably
lose the sight of his eye. We knew then
it was all in the hands of our loving Fath-
er, and so we all prayed almost constantly
after that. Two days later we had our
answer when our doctor told us my
brother’s sight would be saved. That was
a moment of thanks and spiritual re-
joicing for all of us.”

Russ says a daily prayer “for strength.”
He is convinced that these have helped
him “many, many times” in his work.

“But this doesn’t mean,” says Russ,
“that I always get everything I pray for.
I don’t. However, when this happens, I
believe that what I prayed for was not
right for me, or else God would have given
it to me. Then I can go on working toward
other goals without wasting time feeling
sorry for myself.”

Jane Russell is one of the most honest
and forthright stars in Hollywood, but
these days if you ask her about her re-
ligion she is inclined to be noncommittal.
She feels that the story of her spiritual
life has been told too many times. Says
Jane, “I don’t want people to get the idea
that I’m using God for publicity purposes.”

Jane’s religion has always been more or
less a family affair. They all attend Fri-
day night prayer meetings at the Russell
family chapel in North Hollywood. The
chapel’s a simple, unpretentious building
and was hand-built by Jane and her four
brothers. It stands in a cloister, -like glade
of eucalyptus trees, on .eight acres of

jointly-owned Russell property, sur-
rounded by the homes of Mom Russell and
each of her four sons.

At prayer meetings, a solid family nu-
cleus is formed by the Russell boys — Tom,
Ken, Jamie and Wally — plus their wives
Nola, Lois, Pam and Mary Lou. Plus
their fourteen children, Valerie, Garry,
Heidi, Geraldine, Gregg, Ty, Daniel, Robin,
Christopher, Pandora, Jennifer, Jay, Bruce
and Jody. Plus Jane and her three,
Thomas, Tracy and Buck. Plus an as-
sortment of other relatives, friends,
neighbors and visiting clergymen that oc-
casionally boosts attendance to anywhere
from fifty to a hundred.

The main chapel room is about sixty
feet long. The walls and carpet are a
soft shade of green, the ceiling is gray.
Many of those who attend sit on low
cushions grouped around the cross-shaped
lectern. On the wall is the “Prayer
Board,” a blackboard where those in
trouble list their names, and for them
prayers are said. As each problem is
solved, the person steps forward and says,
“Thanks. I’m fine now. You can take my
name off the board.”

Mom Russell usually conducts the meet-
ings of hymn-singing and Bible-reading.
But in her absence Jamie or one of the
other boys takes over. And afterwards
everyone troops upstairs to a coffee-and-
recreation room called the “Eagle’s Nest.”
Here the discussions, usually of a religious
nature, can go on for hours. For as Mom
Russell points out, this is not a church
meeting or a substitute for church. It is
a Bible study group, whose beliefs are
clearly stated in these written words; “We
Believe in the Holy Bible Cover to Cover.”

Jane has been constantly criticized for
being insincere in her religious beliefs.
Nothing could be further from the truth,
nor does anything get Jane angrier than
such accusations. In explaining how she
can play the sexy roles she has made
famous and still be deeply religious, Jane
will tell you, “I think that life is sort of
like a tapestry. To get the right pattern,
you need all kinds of different color
threads. Well, people are the same way.
Each of us is given a job to do and told
to do it in our own way. And if we do
the work He set out for us to do, all the
threads finally make a tapestry that can
bring beauty and comfort to everyone.”

But whether it’s a Friday night service
at the Chapel in the Hills, with its green
walls and carpet, its piano, its Bible-read-
ing conducted by Jane’s mother and broth-
ers; or whether it’s a Solemn High Mass
on Sunday morning at the church of St.
Martin of Tours, a Saturday service at the
Jewish Temple on Wilshire Boulevard,
services in the Mormon Church at Pacific
Palisades, or in the Presbyterian or Epis-
copal houses of worship, they all have one
thing in common: on the day of the week
that is set aside for their members to
worship God, the pews are packed.

Hollywood will still make headlines be-
cause the people who live in Hollywood
are people who make news. But behind
the headlines, behind the tall hedges of
the wealthy or the stucco plaster walls of
the less luxurious apartment houses, on
one day a week the citizens of Hollywood
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of the world. And on this Christmas as on
any other Christmas, when the bells toll
and the thoughts of mankind are on peace
on earth, goodwill toward men, Hollywood,
too, joins the pilgrimage to God that be-
gins with the words of that lovely old
hymn, “Oh, come all ye faithful, joyous
and triumphant. . .

For it has always been true that, the
more man gains of this world, the more he
hungers for and needs the peace found
only in the world of the spirit. The End

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Watch Out for Dors

(Continued from page 34)
she could command one of the highest
prices ever paid an actress for a single
picture? After all, Marilyn Monroe was
earning only $1,500 a week when she made
'“The Seven Year Itch” — and she was the
nation’s top female box-office draw. When
Hollywood beckoned Diana Dors across the
seas, they offered her $40,000 per movie.
Diana settled for nearly twice that amount.

“I'm not coming to Hollywood for fame
and fortune,” Diana announced while she
waited for the movie moguls to make up
their minds about meeting her offer.

And, indeed, she didn’t have to. Fame
and fortune had been part and parcel of
Diana’s career for five years before she
came to America. Since arriving in Holly-
wood, this trend in her life has continued
unabated. The girl who posed in the nude
for a camera club when she was fourteen,
became the favorite pin-up girl of Britain’s
GIs during the war and almost fell out
of her dress when she made her bow be-
fore English royalty, was the same girl
who eight years later went plummeting
into a swimming pool, fully clothed, to
make headlines heard ’round the world.
To cries of, “A publicity stunt,” Diana re-
torted icily, “Do you think I would have
injured my back during the making of a
movie for a ‘publicity stunt’?”

Who knows? Who really knows Dors?

Diana insists she was pushed, and her
burly, ex-prizefighter husband promptly
pushed the pusher, a newspaper photo-
grapher, hard enough to send the gentle-
man to the hospital.

In quick succession, there was talk of
Dennis Hamilton being sued by the man
he slugged, followed by word that the
photographer and the Hamiltons had de-
cided to forgive and forget. Then, out of
the blue, Dennis suddenly packed up and
flew back to London, while rumors spread
that lovely Diana was having a gay flirta-
tion with a leading Hollywood actor.

“It’s not true,” Dennis flatly denied. “I
came home to check up on a real estate
project.”

Dennis was telling me this right in the
huge living room of the Hamilton-Dors
mansion in Maidenhead, England. To prove
his point, the bushy-haired Mr. Hamilton
strode to the telephone, called the airlines
and made a reservation to fly to Hollywood
that night, thus writing finis to his five-day
separation from Diana — and all gossip.

“They’re very happily married,” Diana’s
housekeeper, Mrs. Frances Sholl, put in.
“I never saw Miss Dors in a temper. I
think it's just that Hollywood resents any-
one so beautiful and talented.”

“What about Diana’s father?” I asked.
“Did he meet Hamilton at the airport?”

Mrs. Sholl looked a little uncomfortable.
"No.”

“Did Hamilton phone Diana’s father to
say hello?”

“I don't know,” said Mrs. Sholl. “But,”
she added quickly, “Miss Dors’ father was
here for a visit this summer.”

“This summer, when Diana and Dennis
were in California?”

Mrs. Sholl paled. “Yes.”

Amidst all of these confusing facts, ru-
mors and conjectures, how is one to know
the real Diana Dors?

T here was only one way, I decided. I
had to go down to Swindon, the little rail-
road junction about 100 miles west of
London, where Diana was born. I had to
talk to the two people who know her better
than anyone else.

“A different sort of baby, that’s what
she was,” said the tall, very British Albert
Fluck. Diana's dad.

"And talked incessantly, in grown-up
language, from the age of two,” added her
aunt, Mrs. Katharine Evans.

We were sitting in the sunny living room
of the Fluck house in Swindon, the house
in which Diana was brought up. The house
where she performed her first tap dance,
recited her first poem, changed her name
from Fluck to Dors and sallied forth on
her rose-strewn path to stardom.

“Of course,” said her father, “Diana was
a complete shock to us from the start. My
wife, Winifred, and I had been married
thirteen years. We’d given up any hope of
having a child. Then, one day, Winifred
had suspicions. Even the doctor thought
she was mistaken. But she wasn’t. To our
delight, Diana was born.”

The date was October 23rd, 1931. Place,
the Haven Nursing Home. The astonished
parents were Albert Fluck, railways office
employee, and wife Winifred, former postal
clerk.

One surprise after another — that’s what
Diana gave her proud, middle-aged par-
ents. She never cried at night, she ate
everything they fed her and she smiled
most of the time.

Diana knew her bedtime stories by heart.
She had a remarkable memory for a tiny
tyke, a talent which soon was to startle
her classmates and teachers. In fact, both
teachers and her neighbors were shocked
when, at the tender age of three years and
eleven months, Diana was sent to school.
The opinion in the neighborhood was that
she was entirely too young, that the proper
place for a three-year-old was in a nurs-
ery, not in a classroom with much older
children. “But Diana was such an ener-
getic child,” explained Mr. Fluck, “always
asking what to do next. We decided she
might as well be doing something at school
instead of — well, upsetting everybody and
keeping things in a turmoil here at home.”

At a private institution of learning called
Selwood House, it seems, little Diana
Fluck immediately mastered the whole
multiplication table. Whenever the prin-
cipal showed a prospective pupil and his
or her parents around the place, she made
it a practice to ask Diana to rise and run
through the multiplications. Then the prin-
cipal would turn to the applicant’s parents
and declare triumphantly, “You see what
wonderful training we give here. This
child has been with us only six months
and look what she can do.”

What the amazed and presumably jeal-
ous parents didn’t realize, however, was
that while the bright little Fluck girl could
rattle off the table swiftly and accurately,
she couldn’t multiply two times two. It
was only a trick in memorizing. “Diana’s
grades,” confessed her dad, “were not too
good, particularly in math.”

No, Diana’s interests were shaping up for
something else — bigger shocks to be de-
livered to a far bigger audience. “She was
always hopping around and singing and
chanting little poems,” recalled Mr. Fluck.
“Her mother and I decided to send her to
dancing school. Diana loved it! A bit later,
we let her take elocution lessons.”

The fat was in the fire from then on.
Albert Fluck played the piano for a great
many of the local social events, and Diana,
age about five, insisted on tagging along.
Usually she made her vulnerable parent
promise that, if there was a chance, she
would be permitted to get up and perform.
Diana would sit restlessly by the piano.
After every number, she’d yank impa-
tiently at her father’s sleeve. “Daddy,
when can I go on? When, Daddy?
When?” At last, Mr. Fluck would nod,
and Diana would happily rush out before
the audience and do her number.

“It was a song and tap-dance routine
most of the time,” Aunt Kit remembered.
“One of her favorites was ‘Animal Crack-
ers in My Soup.’ Another was ‘The World
Owes Me a Living,’ as Shirley Temple did
it. Diana adored Shirley Temple. She never
missed one of her pictures and often sat
through one three times.”

Aunt Kit rose and politely excused her-
self to put the kettle on for tea.

“Since my wife died two years ago,” ex-
plained Diana’s father, “Katharine has
kept house for me. She’s my wife’s sister.
She knows Diana almost as well as I do.”

We went back to talking about the little
girl who was determined to perform even
at the age of five. According to her dad,
Diana never cared much for sports. In
fact, she was quite irked at having to take
gymnastics at school. Her interests, in-
stead, were her pet cat, a big, long-haired
fellow named Bill, and her many dolls.
“She changed their names every week,”
laughed Mr. Fluck, “but she kept them
neat and dressed them in her own baby
clothes.”

Meticulous was the word for Diana. If
she had even the tiniest smudge on her

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dress, she would come running to her
mother, screaming, “Dirty! Dirty!” She
spoke at a rapid pace, using an adult
vocabulary.

Aunt Kit came back with a tea tray and
added a few more memories. “Diana
wasn’t finicky about food,” Aunt Kit re-
vealed. “But she did have some peculiar
favorites. She loved bananas and cream
and baked beans on toast. That was her
breakfast.”

“At lunch and dinner, Diana poured
tons of vinegar on everything,” her dad
joined in. “She’d rather have vinegar than
ice cream or candy. We never could figure
it out. And another thing,” he went on,
“she’d pass up her mother’s delicious roast
for immense helpings of bread and gravy.
As a matter of fact, she still relishes noth-
ing better than bread dipped in gravy.”

One day, Albert Fluck, an excellent
pianist, decided it was time to teach his
young daughter the art of the keyboard.
“All right, Daddy,” agreed Diana, but
without much enthusiasm. There followed
a series of evening lessons, but alas, our
Diana made little progress.

“Maybe,” said Albert to Mrs. Fluck, “it’s
a case of a father not being able to teach
his own daughter. I’ll send her to a friend
of mine.”

Twice a week, Diana trotted off to an-
other piano teacher. At the end of three
months, Albert Fluck received a note from
his friend. “Better stop the lessons and
save your money,” it read. “Your daugh-
ter just hasn’t got it!”

That was the finish of the piano lessons.
Another letter marked the beginning of
the end of her school days at Selwood
House. Diana was not a very diligent
student, hated homework and was good
in only one subject — English composition.
One afternoon, she came home and told
her mother, “Mummy, the French teacher
said something awful today.”

“What was it, dear?” asked Mrs. Fluck.

Making a face, Diana replied, “She said,
‘Oh, hell!”’

That evening, Mrs. Fluck mentioned the
matter to Mr. Fluck. “Well,” frowned
Diana’s father, “I believe we ought to let
the teacher know that we don’t approve of
her using such language in front of our
daughter.” Whereupon Albert Fluck took
pen in hand and. with characteristic British
diplomacy, carefully phrased a short letter
to the French teacher.

The shock technique was being put
to work again. Once more things started
to pop. The French teacher showed the
letter to the principal. The principal in-
dignantly phoned Mrs. Fluck to come in
and discuss the problem. The next after-
noon, tall, stately Winifred Fluck, daugh-
ter in hand, marched into the office. An
argument ensued and, while Selwood
House would never use such a crude word
as “expelled,” it seems that’s exactly what
happened to our little heroine, now ten.

Around Selwood House today, Albert
Fluck said, the teachers still talk about the
unfortunate incident. They also remem-
ber Diana as a strong-willed youngster,
with a flair for the dramatic. She often
wore an eyeshade, tilted at a rakish angle.
When she got angry, she slammed doors
and stamped her feet. But when she ap-
peared in a school pageant, she was as
sweet as ah angel. “We had no doubt,”
one of the teachers confided to Diana’s dad
years later, “that your daughter would go
fai . She had that rare combination of
sensitivity, intelligence and fire.” They
might have added, “And a rare talent for
getting herself into the midst of things
when they start to happen.”

One of the things which had started at
belv/ood House and which Diana prornotly
put herself in the midst of was a course in

elocution. She had begun taking lessons
from a Selwood instructor, Miss Leason.
When Diana enrolled in another Swindon
school, Colville House, she continued to
study privately with Miss Leason. She
learned to recite and declaim and entered
one elocution contest after another, “al-
ways walking off with first prize,” Daddy
Fluck added proudly.

Movies, too, were becoming important to
Diana about this time. At least twice a
week, Mummy and Diana would spend an
afternoon at the local picture house. When
they returned home, Mummy would go
into the kitchen to prepare dinner. Diana
would trot upstairs to her mother’s bed-
room. One evening Daddy Fluck came
home around seven and asked, “Where’s
Diana?”

“In my bedroom,” Mummy replied.

“Doing what?”

“Dressing up in my clothes and acting
out the picture we saw this afternoon.”

“Oh,” said Daddy, “may I go up and
watch?”

“You may not!” said Mummy. “Don’t
you know it’s a big secret? Diana doesn’t
even suspect / have an inkling of what
she’s doing.”

However, curiosity got the better of Al-
bert Fluck, and he tiptoed upstairs to peek
through the keyhole. There, he saw his !
young ^ offspring, perched up on her
mother’s high heels, a flowery bonnet on
her head and a heavy fur piece wound
around her neck. Diana was pacing the
floor and moaning in throaty tones to
imaginary characters: “Oh, how I’ve suf-
fered! The world knows how I’ve suffered!
But my husband and children are all I
have left. If it means their happiness. I’ll
go on suffering! (Here a sob or two.)
Suffering . . . suffering!”

This was Diana Dors, age eleven.

Boyfriends? “There weren’t many,” said
Albert Fluck. “She had the usual dates
any young girl has. But no one special.
However, when she was about thirteen a
lot of American soldiers were billeted here
in Swindon. Diana was fascinated bv
them.” J

Diana and her father used to walk down
the street, gazing at the GIs in their
strange uniforms. “Daddy,” Diana kept
pestering, “can’t we invite some of them
home? Please, Daddy!” Finally Daddy
obliged, and from then on. while some of !
the neighbors disapproved of such gay
goings-on, the Fluck house was filled
with Americans almost every night.
“They played the piano and sang songs,”
recalled Fluck. “We served them tea
whenever rationing permitted. Mostly it
was the other way around. The Ameri-
cans brought us chocolate bars and ciga-
rettes, and we were most grateful.”

By now, Diana was an expert dancer.
With her mother as chaperone, she spent
many an evening at a Swindon dance
palace called Bradford Hall. Mummy would
sit up in the gallery and watch. Diana
quickly became a favorite of the GIs who
had paid their three shillings to get into
the hall. She picked up the Big Apple
and other American steps; and the de-
lighted soldiers argued among themselves
as to who was to be Diana’s partner. But
promptly at ten o’clock Mummy would
come downstairs, curl a finger at her
daughter, and the two would make their
departure. After all, Diana wasn’t four-
teen and there was school the next day.

Aunt Kit poured another round of tea
and said she remembered when all the
girls at Colville House were asked to do
a comoosition on “What I’d Like To Be
When I Grow Up.” Diana, as usual, had no
doubts about what she wanted out of life.

“Most of the pupils wrote ‘I’d Like To Be
a Nurse or ‘I’d Like To Be a Beauty
Operator,’ ” declared Aunt Kit. “But not
our Diana! Her composition was called,

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TO SCHOOL OF

“I Am Going To Be an Actress,” And she
went even further. She said, ‘I am going
to have a big, beautiful house with a
swimming pool and a cream-colored tele-
phone.’ Today,” concluded Aunt Kit,
“Diana’s home in Maidenhead, just out-
side of London, is a country estate with
a huge swimming pool and a cream-
colored telephone!”

In the last year at Colville, Diana was
being criticized for lightening her brown
hair with a rinse and entering elocution
contests like mad. “One day,” recalled
Daddy Fluck, “Diana and I took the
train to a nearby town where she was
competing. The train was late and we
rushed into the auditorium, hoping we’d
still make it. When we arrived, it was
exactly the moment for Diana to go on
the stage. Calm as a veteran, Diana took
off her coat and hat, walked on and re-
cited her piece. When she was through,
the contest manager shook Diana’s hand.

“ ‘Thank you, Miss Fluck. Thank you
very much!’ he bubbled enthusiastically.
Then he turned to me. ‘Why don’t you
give this girl a chance?’ he demanded.
‘She’s not only walked off with first
prize but she has ten times the talent
of most youngsters in these contests.’ ”

When Albert Fluck got home that eve-
ning, he told his wife what the manager
had said. “Maybe we ought to give her a
chance,” he finished thoughtfully.

“Send her to London to the Academy?”
asked Winifred Fluck.

“Yes,” replied Dad. “After all, we
brought Diana into the world. She didn’t
ask to come. Now that she’s here and ap-
pears to be so gifted, the best we can do
is give her the chance.” He sighed a little
sadly. “We’ll have to let her go, Mummy.”

So Mummy and Diana went to London
to arrange for Diana’s admission into the
Academy of Dramatic Art, which is some-
thing like New York’s Actors’ Studio. They
were told Diana would have to pass an
examination before she could be ad-
mitted. This examination would consist
primarily of reading poetry and enacting
small scenes from plays. A date was set
and Diana and Mummy went back to
Swindon to prepare for the big day.

“She used to practice on the family,”
reminisced Aunt Kit. “And she had quite
a repertoire. One of her poems was called
‘Daffodil.’ Then there was a very tragic
one — I’ve forgotten the name — but it had
us all in tears. Even Diana’s burly uncles
were getting out their handkerchiefs and
wiping their eyes. ‘Diana,’ said the uncles,

‘if you can move us, you’ll certainly pass
the test!’ ”

A few days later, Diana went to London
and did pass the exam. But because she
couldn’t get a room at the YWCA, and her
mother wouldn’t think of allowing her
fourteen-year-old daughter to stay any-
where else in the big city, Diana attended
the Academy only part-time during her
first term.

However, by the time the second term
rolled around, a new Y had opened and
Diana found accommodations. She would
take an early morning train Monday
from Swindon and return home Friday
night. “Our daughter was gradually go-
ing out of our lives,” reflected Daddy
Fluck. “But she was happy. And that’s
all we wanted.”

At the London Academy, examinations
are held periodically. If a fledgling passes
the first test, he or she is awarded a
bronze medal. For the second examina-
tion, it is a silver medal; for the third,
gold. Diana easily collected her bronze
medal and, at the age of fifteen, was up
for the silver trophy. One of the judges
was Mr. L’Epine Smith, a film executive.
After Diana’s act, he took her aside.

“How old are you, Diana?” he asked.

“Fifteen,” she replied.

Smith shuddered. “Fifteen!” He drew a
long breath. “Look, if you’ll tell people
you’re eighteen and change your name to
something besides Fluck, I can get you a
film job.”

Diana promptly adopted her grand-
mother’s maiden name, Dors, and began
applying make-up (she'd used only pale
lipstick until then). A couple of weeks
later, L’Epine Smith took her to the
office of George King, a producer. Smith
sat himself on the arm of Diana’s chair,
holding tightly to her wrist.

One of the first questions King asked
was, “Diana, how old are you?”

Smith squeezed Diana’s wrist hard.
Diana stuttered, “I — I — I’m eighteen!”

She was hired. Her first movie job was
a bit part in a now-forgotten film. She re-
ceived about forty dollars for her work,
which lasted a week.

“The next thing we knew,” recalled
Daddy Fluck, “Diana had herself an agent.
One Saturday, the agent phoned Diana
here in Swindon and asked, ‘Can you
jitterbug?’

“ ‘Oh, yes!’ Diana promptly answered.
‘I used to jitterbug with the GIs at Brad-
ford Hall.’ ”

Diana was in pictures again — another
bit part, another week’s work, another
forty dollars. But Diana was on her way.

“The rest is history, I guess,” said Mr.
Fluck. “J. Arthur Rank put her under
contract when she was sixteen. She
married when she was nineteen. And now
she’s twenty-five and rich and famous.”

“We don’t see too much of her,” added
Aunt Kit. “She’s been back home only
once since her mother died. Says she
can’t bear to be in the same house again.
She and her mother were very close.”

“But we keep in touch,” put in Dad.
“I get letters. Even got a telephone call
all the way from Los Angeles. And when
she’s in England, she’s always inviting me
over for a weekend.”

“More tea?” asked Aunt Kit.

When the tea was declined with thanks,
Albert Fluck let go of a long sigh, rubbed
his hands together, and said, “Well, I guess
that’s about all we can tell you — except
that we’re very happy and proud about
Diana. She’s come a long way.”

Leaving those gentle people on the quiet
streets of Swindon I was in hearty agree-
ment with their summing-up of their
famous daughter. She had, indeed, come
a long way. She has a long-term agree-
ment with the J. Arthur Rank Corporation,
a deal for three pictures with RKO and
options for two more. She has also signed
up for three independent movies and three
for her own producing company.

Diana made more headlines recently
when her husband announced that she
was through with Hollywood and that
she and he were returning to England
permanently. Diana promptly repudiated
this by announcing, through an RKO
executive, "If Dennis did say that, he
was crazy, and I don’t believe he said it.”

Nevertheless, two weeks after this both
Hedda Hopper and Sheilah Graham an-
nounced flatly that the Hamiltons were
being divorced, with financial details.

Before that, Diana and her husband had
bought a great deal of Beverly Hills real
estate, seeming to indicate that they liked
it here just fine and intended to stay. Her
second movie, “The Lady and the Prowl-
er,” co-stars Rod Steiger. She was
thoughtfully paid $100,000 for making it —
an increase of $25,000 over her first pic-
ture, which is not bad pay, even in
Hollywood.

The home she lives in, banked with
flowers, flanked by its swimming pool
and its three-car garage, is a far cry from
that quiet street in Swindon. But the
Diana who flips and quips her way from
party to party, with one eye on the cash
register and the other on the headlines,
is not so very different from the little
girl who started shocking her parents
the day she was born and has been cheer-
fully shocking and surprising people ever
since. And despite an outward resem-
blance to Miss Monroe, Diana Dors is a
star in her own right. She is, as she will
modestly tell you, not Britain’s Marilyn
Monroe but Britain’s Diana Dors.

Like Marilyn, Diana gets along beauti-
fully with the press and the columnists.
But unlike Marilyn, Diana is troubled by
no inner doubts and fears. Diana is a
realist in a realistic world. She learns the
rules of the game — just as she learned her
multiplication table at the age of four —
and plays the game accordingly. She is
bright, shrewd, quick-witted and essen-
tially friendly and easygoing. She is
frankly happy to be making so much
money and hopes — and intends — to go on
making it.

Essentially, Diana hasn’t changed much
from the days of the little house in Swin-
don. Because she has been observed, only
recently, discreetly dipping her bread in
gravy. The End

Heres a busy person's best news bet — -

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Broadcasters are FRANK SINGISER
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headline reports that permit busy
people to keep pace with world events.

Yoi.’ll enjoy: Diana Dors in “I Married a Woman.”

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PHOTOPLAY

IVfUITF Cl F A M F P I T A ' UnVIFfiflFBF FOR ClVFP FORTY V F A C

FEBRUARY, 1957

ANN HIGGINBOTHAM, Editorial Director

NORMAN SIEGEL, Res
ELLEN TAUSSIG, Managing Editor
jules saltman, Associate Editor
ron taylor, Art Director
JANET GRAVES, Contributing Editor

MAXINE ARNOLD, RUTH WATERBURY.

VOL. 51. NO. 2

ISABEL MOORE, Editor
Coast Editor

hermine cantor. Fashion Editor
Helen limke, Assistant West Coast Editor
mathilde iliovici. Assistant Art Director
Roger marshutz, Staff Photographer
Contributing West Coast Editors

SPECIAL BOOK CONDENSATION

The Rock Hudson Story, Part I

Joe Hyams 43

ARTICLES AND SPECIAL FEATURES

The Way to a Man’s Heart (Norma Moore) 13

No Margin for Error (Dennis Hopper) 16

The Prize — and the Winnah! (Sal Mineo) 30

What Happens to Hollywood’s “Discoveries”? (Jean Seberg) 32

Waiting for Elbe (Elbe Kent) 36

Why Eddie Fisher Almost Left Debbie Reynolds Waiting Howard Eisenberg 46

“Look, Kid, How Stupid Can You Be?” Rory Calhoun 48

All She Wants to Be Is a Movie Star (Jayne Mansfield) John Maynard 50

How to Have a Love Affair (Rossano Brazzi) Patty de Roulf 52

Journey into Light (Audie Murphy) Vicki Riley 56

Red Hot Iceberg (Anita Ekberg) Charlotte Locke 58

Who Needs Hair? (Yul Brynner) Army Archerd 64

The Small, Private World of Audrey Hepburn Mary W. Jones 66

She Calls Him “Pappy” But She Calls Him “Darling” (Clark Gable) . . . .Frances Kish 68

NEWS AND REVIEWS

Cal York’s Inside Stuff 18

Let’s Go to the Movies. . . .Janet Graves 20
Casts of Current Pictures 35

SPECIAL DEPARTMENTS

LIVING WITH YOUNG IDEAS

Becoming Attractions 34

Spring Takes Wing with the Costume

Look (Fashions) 70

Hollywood Face Facts. .Harriet Segman 74

Hollywood for You ... .Sidney Skolsky 38

Brief Reviews 39

Exclusively Yours Radie Harris 60

What's Spinning? . . .

Photoplay Patterns. . .

Needle News

Over the Editor’s Shoulder. . 4 Readers Inc

The Hollywood Story: It’s the Loneliness That Gets Them (Martha Hyer)

STARS IN FULL COLOR

Rock Hudson 44 Jayne Mansfield 50 Audie Murphy 56

George Nader 45 Rossano Brazzi 53 Anita Ekberg 58

cover: Color portrait of Rock Hudson by Universal-International. Rock stars in L’-I’s “Written on
the Wind” and “Battle Hymn” as well as M-G-M’s “Something of Value.”

Your March issue will be on sale at your newsstand on February 5

PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications, Inc., New York, N. Y. EXECUTIVE,
ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street. New York 17, N. Y. Editorial branch
office, 321 South Beverly Drive, Beverly Hills, Calif. Irving S. Manheimer, President; Lee Andrews,
Vice-President; Meyer Dworkin, Secretary and Treasurer. Advertising offices also in Chicago and San
Francisco. SUBSCRIPTION RATES: $2.00 one year, U. S. and .Possessions. Canada $2.50 one year.
$4.00 per year all other countries. CHANGE OF ADDRESS: 6 weeks’ notice essential. When possible,
please furnish stencil-impression address from a recent issue. Address change can he made only if we
have your old as well as your new address. Write to Photoplay, Macfadden Publications, Inc., 205 East
42nd Street. New York 17. N. Y. MANUSCRIPTS, DRAWINGS AND PHOTOGRAPHS will be carefully considered but
publisher cannot be responsible for loss or damage. It is advisable to keep a duplicate copy for your records. Only
material accompanied by stamped, self-addressed envelopes or with sufficient return postage will be returned.
FOREIGN editions handled through Macfadden Publications International Corp., 205 East 42nd Street, New YorK 17,
N Y. Irving S. Manheimer, President: Douglas Lockhart, Vice-President. RE-ENTERED as Second Class Matter
May io, 1946, at the Post Office at New York, N. Y. , under the Act of March 3, 1879. Authorized as Second Class
mail P. O. Dept., Ottawa, Ont., Canada. Copyright 1957 by Macfadden Publications, Inc. All rights reserved under
International Copyright Convention. All rights reserved under Pan American Copyright Convention. Todos derechos
reservados segun La Convencion Panamericana de Propiedad Literaria y Artistica. Title trademark rnn ,ttI‘

Patent Office. Printed in U.S.A. by Art Color Printing Company. Member of TRUE STORY WOMEN S GROUP.

A GREAT
LOVE STORY

The “Many Splendored”
star more beautiful
and romantic than ever!

WIMPOLE

m-g-m’s new Cinemascope and Metrocolor production

Screen Play by JOHN DIGHTON • From the Play by Rudolf Besier • Directed by SIDNEY FRANKLIN • Produced by SAM ZIMBALIST

AN M-G-M PICTURE

over the

Editor 9s shoulder ...

The stars can escape Hollywood but they can’t escape our roving reporters , as you’ll see

How Photoplay gets its scoops: Our West Coast Editor , Norman Siegel, talks to Elvis Presley
about his plans, then joins our columnist, Sidney Skolsky, in a quick chat with Tony Perkins

Exclusively Yours

. . . And exclusively ours — is not only
a new gossip column (see page 60) but
a new kind of gossip column. And because
you'll be hearing from its author, Radie
Harris, regularly in the months to come,
we would like to tell you a little about her.
Miss Harris is a small, blonde and vibrant
young woman who. any day in the week,
can be seen hurrying off to Sardi’s or the
Colony or some equally smart restaurant
in New York for a luncheon interview with
a star. In her charming apartment over-
looking Central Park she can he heard, at
almost any hour of the day or night, talk-
ing to Tyrone Power in London or Ingrid
Bergman in France or Elizabeth Taylor
in Hollywood. Radie not only knows all
these people professionally, she knows
them personally, so that when a story is
breaking she can get the facts at first hand.

Nothing upsets Radie Harris so much
as the flood of misinformation contained
in many gossip columns. In fact, she was
expounding on this very theme over a
luncheon at Michael’s Pub one day. We
said, “You’re absolutely right. We’ve often
thought that if we could find someone who
could give us not only the gossip items,
but the real story behind the gossip — ”
And then we stopped. A special kind of
look had come over Radie’s face, and our
own brightened considerably as we said.
“You will? Great! Let’s start it with the
February issue!” And that, gentle reader,
is how “Exclusively Yours” came to be
born. We think it will live to a ripe old
age. What do you think? Do write and
tell us how you like it.

Our Roving Reporters

Readers often write in to ask whether
our writers and editors really know the
people they're writing about. Well, one

answer is these snapshots of our West
Coast Editor, Norman Siegel, chatting with
Elvis Presley on the Twentieth lot and with
Tony Perkins (along with Sidney Skolsky)
at Paramount. The second was taken right
after writer Joe Hyams had seen Tony for
a Photoplay story (coming soon!). An-
other answer is a glimpse of the travel
expense vouchers submitted by our writers
for just one month. Patty de Roulf hur-
ried from Rome to London to talk to Ros-
sano Brazzi about “How to Have a Love
Affair.” The author of “Red Hot Iceberg”
chased her subject from Paris to London,
while perennial favorite Alan Ladd and
newcomer Sophia Loren were interviewed
aboard Alan’s hired, yacht, The Dolphin,
off the coast of Greece. This is Sue and
Alan’s present home. Then we had How-
ard Eisenberg on a plane for California
to talk to his good friends, Eddie and Deb-
bie, about their wonderfully happy mar-
riage, as another of our writers, Richard

Australia's gift to movies. Rod
Taylor found us waiting at M-G-M

Gehman, was winging East with the first
part of one of the most exciting, and most
tragic, tales ever to come out of Holly-
wood. This is the life story of Montgom-
ery Clift, told in its entirety. It begins in
the March issue, and we predict it will
he one of the most talked-about stories of
the year. So you see, we really don’t spare
any pains or expense to get the best stories.

Something New Added

As of the March issue, you’ll find we
have more pages of color. Since we already
carry more up-to-the-minute reading mat-
ter than any other fan magazine, this
means that Photoplay is really the best
and biggest buy on the newsstands today!

Undercover Stuff

That’s what our March “Living with
Young Ideas” section is specializing in,
beginning with an article by Hollywood
beauty expert Terry Hunt, who tells you
how to have the bustline you want. Terry
is responsible for those perfect bust meas-
urements of many a Hollywood star, and
he has some valuable tips on exercises for
teenagers to improve your bustline. Also,
while you’re working on your exercises,

We sought out Alan Ladd in Greece ,
making friends with Sophia Loren

we’ll have pages and pages of bright young
ideas in girdles and bras that are spe-
cially designed for a lithe young figure.

Up-and-Coming Thrills

Our readers write us that one of the
many nice things about Photoplay is our
interest in the new. up-and-coming young
stars. One reader says, “First, I read about
Don Murray in your November issue. Then
I began to talk about him to my friends.
When his picture, ‘Bus Stop,’ arrived in
town, we all felt as though, in a way, we’d
helped discover him. So please do go on
giving lots of space to the young stars.”
That we will, ma’am, and to prove we’re as
good as our word, we bring you another
young player, Rod Taylor, in our March
issue. You’ll see Rod in M-G-M’s “Rain-
tree County,” and you’ll see us right here
again next month. — I.M.

Introducing Earl Holliman
new star sensation !

Suddenly . . . happiness
flooded through her!

ANOTHER TRIUMPH FOR HAL WALLIS,
PRODUCER OF “THE ROSE TATTOO"
AND “COME BACK, LITTLE SHEBA”'

PRODUCTION

“LEAVE THEM ALONE, SON!

Your sister’s got to have her minute
of happiness — with him
talkin’ quiet and his hand
touchin’ her face ! And if you
go out there and shorten the
time they have together— I swear I’ll
come after you with a whip!”

Wmm ■ KATHARINE

TECHNICOLOR

WENDE

Directed by

1 COREY’ LLOYD BRIDGES -EARL HOLLIMAN -CAMERON PRUD'HOMME

OSeph Anthony ■ Screenplay by N. Richard Nash Based on his play produced on the New York stage ■ Music Score by Alex North -A Paramount Picture !

Address your letters to Readers Inc., photoplay,

205 E. 42nd Street, New York 17, New York. We
regret that we are unable to return or reply to any letters
not published in this column. If you want to start a fan

club or write to favorite stars, address them at their studios.
For list of studio addresses, - see page 92. — Ed.

READERS INC...

■ 5 ■

'-'J

SOAP BOX:

I have just seen that wonderful movie,
"The Opposite Sex,” and liked it so much
I went back to see it again. 1 adored June
Allyson, Ann Sheridan, Ann Miller, Agnes
Moorehead and Charlotte Greenwood. But
1 really went back the second time because
of that wonderful Leslie Nielsen. He not
only has talent, but looks, too.

Photoplay has been my favorite for a
long time, and now I hope you will give

Leslie brings them back again

us some stories on this wonderful actor,
and some full-page colored pictures. I will
be a fan of his for life!

Dorothy A. Harbaugh
Arlington, Virginia

I want to thank you for the article on
Janet Leigh and Tony Curtis, “Once Upon
a Time,” in the December issue of Photo-
play. It touched me deeply. I know how
they must feel about their daughter Kelly
because I have a son who was born in July,
and feel exactly the way Janet does. My
husband and I are so much closer since
our baby arrived. I think a baby is the
most wonderful gift God ever presented
to a woman.

May Janet and Tony be blessed with the
family they deserve.

Mrs. Dick Woolums
Hillsboro, Ohio

I think “Giant” is the most remarkable
screen achievement since “Gone with the
Wind”! I believe that Rock Hudson and
Elizabeth Taylor emerge as the top artists
in Hollywood because of their parts in this
picture. Liz certainly deserves an award.
I also believe that James Dean’s perform-
ance as Jett Rink is his most sensitive.

Fifteen or twenty years from now, critics
are bound to compare other outstanding
screen accomplishments with “Giant.”

Mrs. L. Herbert
Pasadena, Texas

I’m in love with Tab Hunter! I know
there are about 2,000 other girls who say
the same thing, so I’m speaking for them
as well as myself. I have never met Tab,
but hope to someday. He is my favorite
movie actor and I’ve read so many stories

about him that I feel as if I’ve known him
for quite a long time, and that he's my
real friend.

I’m a senior in high school, and I’d like
to study dramatics at a good school. I sup-
pose every girl or boy, sometime in his or
her life, has hoped to be an actor or ac-
tress. I think I know every movie actress
and actor from A to Z, including Liberace,
but Tab is still tops on my list. If you've
seen as many movies as I have in which
Tab Hunter has starred, you'll realize what
a fine actor he is.

And girls, don’t you agree he’s the hand-
somest man you have ever seen?

Mary Dean Keith
Oconto Falls, Wisconsin

I just bought the December issue of
Photoplay and the picture of Jayne Mans-
field on page 8 was the most disgusting
picture I h'ave ever seen. All the magazines
have been criticizing Elvis Presley, but they
should start criticizing these girls who have
their pictures taken while half-nude. The
majority of the writers who criticize Elvis
are men, but they never seem to have any-
thing to say about these women. I am
thirteen years of age, and I’d like to know
how other teenagers feel about this type
of picture.

Harriet Horodeck
Jersey City, New Jersey

When will someone produce more motion
pictures which include the casting of a
Chinese girl? The pictures, “Three Stripes
in the Sun,” “Japanese War Bride,” “The
Purple Plain” and now “The Teahouse of
the August Moon” all starred a Japanese
girl. Oh, I must give credit to “Love Is a
Many-Splendored Thing” which had a por-
trayal of a Chinese or Eurasian girl.

Sandy Lee

Victoria, British Columbia

1 have an issue of Photoplay published
in 1953 in which Kathleen Crowley was an
award winner for most promising new-
comer. I have seen her on many TV shows
since your prediction, and I really think
you picked a winner. As you know, Walt
Disney picked her to star in his first West-
ern, “Westward Ho the Wagons!” Now that
this picture has lieen released, the whole
country should join me in congratulations
to Photoplay for selecting her as a prom-
ising young actress.

Mollie Moore
San Diego, California

Dear Elvis Presley:

I am writing this letter to let you know
that I admire your great courage and ten-
acity in a world that has shown such hos-
tility toward you. I have heard quite a few
records that you've sung, and have found
them to be quite unique — your style of
singing really has a rare quality that few
singers in your field can boast. I think
that the part of the public that has con-
demned you has done so without really
knowing you. I find nothing about your

singing or actions that should elicit such
fury. This is America, and if that is the
way you want to express a song, by golly
you should be allowed to do so! So I say,
keep up your singing, and remember that
you alone must decide whether a thing is
right, according to the dictates of your
heart.

Philip L. Quintyne
Washington, D. C.

Every month when I pick up my copy
of Photoplay, I look forward to many
hours of reading enjoyment. I think your
magazine' is tops, and in order to keep it
that way, 1 think that every month you
should have an article and color picture
of an established star as well as the younger
stars. Among these, you might include Ty-
rone Power, Robert Taylor, James Stewart,
etc. I'm all for the younger set, since I’m
one myself, but I think the addition of
an older star each month would be most
pleasing.

Molle Muurisepp
Uniondale, New York

Your wish is our command — and we will
cover “older” stars in future issues. — Ed.

Who says actors and actresses are cold?
I recently had the extreme pleasure of

Susan is warm and friendly

meeting Susan Strasberg, and she was any-
thing but cold. I found her to be a warm
and friendly person with an engaging per-
sonality. The movie world can use more
people like her. She’s not only a wonder-
ful person, but a fine actress, and I hope
in the very near future to read many articles
on her.

Jill Levy

Brooklyn, New York

I recently read in your column that a
girl was thrilled upon receiving a letter
from a star. Well, I also received a letter
from a star — Kim Novak. Wasn’t it thought-
ful of Kim to take time out to write me?
I met her when she was on a personal
appearance tour in Dallas, and found her
to be one of the sweetest people I've ever
met. Incidentally, I think she is much
prettier off the screen than on.

L. M.

Houston, Texas

Continued

For the first time Alfred Hitchcock goes to real life for his
thrills! It’s all true and all suspense --the all-’round biggest
Hitchcock hit ever to hit the screen! Warner Bros, present

HENRY FONDA, VERA MILES and the exciting city

of New York in ALFRED HITCHCOCK S ***

Somewhere
somewhere
there
must be
the right
man!

lYiatv

also etarring anthony ouAYLE • Screen Play by Maxwell Anderson and Angus MacPhail
music by bernaro herrmann • Directed by ALFRED HITCHCOCK

CHALLENGE! If you don’t believe
that this weird and unusual story
actually happened, see the records
of Queens County Court, N.Y.,

Apr. 21, 1953 Indictment #271/53,
“The Balestrero Case”

Are you ever

That’s when most deodorants fail . . .

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READERS INC. Continued,

LOOK ALIKE:

I’m a photographer, and recently photo-
graphed this beautiful girl who looks like
Ava Gardner’s twin sister. Don’t you agree?

Henry W. Fredericks
National City, California

Just like Ava Gardner?

QUESTION BOX:

I am writing about a very handsome ac-
tor named John Smith. I saw him in three
movies: “High and Mighty,” "We're No
Angels and “Hot Rod Girls. I think he’s
a wonderful actor, but why doesn't lie get
any credit for it? I haven't one picture of
him, although I’ve looked through plenty
of hooks. Can you give me- some informa-
tion on him? And why not do a story on
him, and give him a chance?

Nancy Lee Farthing

Peterborough, Ont., Canada

John Smith’s real name is Robert Van
Orden. He changed it because his agent
wanted to handle just one client with “a
good old American name.” He was burn
in Los Angeles. March 6, 1931, attended
Dorsey High School, and then UCLA and
El Camino JC. He didn’t take part in school
dramatics, but sang with a student dance
band, and also played football and basket-
ball and was expert in gymnastics. He keeps
his 6'2\ 2" in shape through constant exer-
cise and workouts, as well as playing tennis.
He has blue eyes, blond hair, and weighs 185
pounds. — Ed.

A friend of mine insists that Dennis Hop-
per is the son of Hedda Llopper! 1 say that
he is George Burns’ and Gracie Allen’s son.
Who is correct?

Mary Linda Jeter
Honolulu, Hawaii

You’ve probably noticed...

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Neither one of you is right. Dennis is the
son of Jay M. Hopper and the former Mar-
gerie Davis, and was born May 17, 1936 in
Dodge City, Kansas. — Ed.

I have recently seen “Unguarded Mo-
ment,” co-starring John Saxon. I would ap-
preciate it very much if you could give me
some information about him.

Maria Eeisa Pina
Hermosa Beach, California

John Saxon worked his way into Holly-
wood via a magazine modeling job. In
order to help pay his way through a drama
class in his native New York City, the
nineteen-year-old youth worked in his spare
time as a photographer’s model. One of his
assignments was to pose for an illustration
fur True Story magazine. Shortly after the
magazine went on side, fan letters began
descending on the publisher. Who was the
boy in the picture? What was his name?

Continued on page 12

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The publisher was so impressed that he sent
duplicates of the photographs to a Holly-
wood agent and, sight unseen, the agent
forwarded John a contract to sign. A few
months later, John was in filmland. He
made his screen debut in U-Ts “Running
Wild.” He has dark brown hair and eyes
to match , is 5' 10y2" tall, and weighs 165
pounds. Born August 5, 1935. He is inter-
ested in sports, and is an expert archer.
He’s also done a lot of horseback riding
and swimming. As an indoor hobby, he
practices on bongo drums, likes Calypso
rhythms and classical music. His taste in
literature leans toward the serious. — Ed.

Can you give me the name of the studio
responsible for the production of a movie
which was released about 1951, entitled “A
Place in the Sun.” I am part of a research
group and information regarding this movie
can he of valuable assistance in a project
which we are currently working on.

Janet De Claire
Detroit, Michigan

Paramount produced “A Place in the
Sun.” — Ed.

I just saw “The Opposite Sex”, and we
would like to know the leading man dancer
and singer who appeared in the “The
Banana Tree” number. He is a very good
dancer and singer, and is he neat! My girl-
friend and I thought he would also be
splendid in a non-dancing role. We recom-
mend him very highly for some other danc-
ing pictures or singing.

Rita Emery
La Crosse, Wisconsin

His name is Jerry Antes and his studio
is Metro-Goldwyn-Mayer. — Ed.

CASTING:

Since Natalie Wood and Tab Hunter
seem to he the most promising new team in
Hollywood, I am convinced that they would
he perfect for the roles of Josui Sakai and
Allen Kennedy respectively, in a film ver-
sion of Pearl Buck’s The Hidden Flower.

I hope that Warner Brothers will think of
this when teaming these two in the future.
Ann Fui.lagar
Catasauqua, Pennsylvania

I just finished reading Pierre La Mure’s
wonderful novel based on the life of Felix
and Cecile Mendelssohn, Beyond Desire.

I think it would make a terrific movie with
Tyrone Power as Felix Mendelssohn, Eliza-
beth Taylor as Cecile Jeanrenaund, his wife,
Gina Lollobrigida as the Italian prima
donna. Maria Salla, Jean Pierre Aumont as !
Frederic Chopin, and Cliff Robertson as
Robert Schumann.

Dean Manuel
Jersey City, New Jersey

1 have just finished reading the most
marvelous book, A Thing of Beauty, by Dr.
A. J. Cronin. It was a novel about a young
artist who believed in “art for art’s sake,” 1
and all the things he did to defend his
belief. I, as well as many of my friends,
think it would make a wonderful motion
picture, with a cast like the following: |
Stephen Desmonde, Laurence Harvey: I
Jenny Dill, Jean Simmons or Debbie Rey-
nolds: Emmy Berthelot, Joan Collins; I
Richard Glyn, Bill Travers: Harry Chester.
Kenneth More; Papa Peyrat, Peter Ustin-
ov; Claire, Dinah Washington; and Ber-
tram Desmonde, James Robertson Justice.

Anonymous
Lawton, Oklahoma

Norma Moore believes a girl
should have one good dress
and a meal one good dish

The first time we met pert and
pretty Norma Moore, was in Holly-
wood, where she was making “Fear
Strikes Out” witli Tony Perkins.
Over a commissary luncheon, we
found out that Norma, a so-so cook,
would like to be able to serve up at
least one “good dish.” So when we
heard Norma was in New York, we
made a date to have her meet Bruno,
who owns the “Pen and Pencil,” a
favorite restaurant of visiting Holly-
wood stars. We explained Norma’s
problem and Bruno promised a quick
solution. Norma came over with
Jimmy Sisco, young dancer in Broad-
way’s “New Faces,” and in less time
than it took to eat it, Norma had her
specialty, Bruno’s own Caesar Salad:
Romaine, broken, not cut; one-min-
ute eggs; croutons; grated parmesan
cheese; and anchovies. Toss well!

It’s a good cook who can eat her own Photos by Peter Pern

cooking, but Norma finds no trouble
at all in sampling her Caesar Salad

Norma decides her own “ good dish ” After white of egg is skillfully add- The genial owner of New York’s

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Rock Hudson took time to teach Dennis the hard facts of an actor's life

No Margin For

ERROR

Dennis Hopper learned, in Hollywood you grow up fast — or else

“In this business,” Dennis Hopper says
seriously, “there’s no margin for error. You
have to grow up all of a sudden.” Even at
the rate Dennis lias moved, he has. Only
twenty, the blond newcomer is being
cheered for his work as Rock Hudson’s
son in “Giant.*' Yet Dennis once seemed a
kid with his head in the clouds. He was
the eager movie fan, haunting Saturday
matinees back home in Dodge City, Kan-
sas. Hardly into his teens, he began acting
in school plays, won contests by declaim-
ing scenes from Shakespeare and 0 Neill.
“My parents thought I was going to grow
up to be a bum.” he grins, “writing poetry
and stuff like that.” They accused him of
a tendency to laziness.

But it wasn’t a lazy life that Dennis had
in mind. The summer he was seventeen,
he proved that by slaving as a twenty-five-
dollar-a-week apprentice at La Jolla Play-
house in California, sometimes going
sleepless for forty-eight hours at a stretch.
The next year, La Jolla’s John Swope
suggested that Dennis try his luck with
movies or TV. The boy was game, if not
exactly bursting with self-confidence.
“When I arrived in Hollywood,” he says,
“I had the bad luck to see Bel Air first. I
looked at all those big houses, and I
thought, ‘I’ll never make it!’”

He made it — and in short order. Inside
two months, he scored a dramatic hit on
TV that brought him a Warners’ contract.
He did a small role in “I Died a Thousand
Times,” a better one in “Rebel Without
Cause,” then “Giant.” Next are Para-
mount’s big “Gunfight at the OK Corral”
and Warners’ “The Story of Mankind.”

Dennis hasn’t built up to a Bel Air

mansion yet; he’s perfectly content with
a one-room apartment. “I go on kicks,” he
says. “I’ll shut myself up there for a while,
reading or painting.” But he’s no solitary;
he has formed friendships with other young
players, as earnest and career-conscious as
he is. There’s Susan Kohner, fellow ap-
prentice of La Jolla days. He met Nick
Adams while making “Rebel,” Natalie
Wood before that, while testing for the
picture. Dennis and Nat dated for a time,
are now just friends.

Nat, too, has grown up in a rush, as
Dennis says teenagers must in show busi-
ness. “When I went back to Kansas for my
grandparents’ fiftieth wedding anniver-
sary,” he recalls, “I was shocked to learn
that all the friends I had gone to school
with were married and had children. I was
so occupied with movie work that this
part of life had passed me by.

“I sometimes wonder if I’ll ever be
ready to get married. I’m so intensely
involved with my career that I’m irrespon-
sible where everything else is concerned.”

Socially, too, the pace is fast, the
demands great, as Dennis, his broth-
er, and Nat and Lisa W ood learned

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Ann Vickers helped Ben Cooper get over
the shock of receiving his “ greetings ”

INSIDE STU

Cal York's Gossip of Hollywood

Nick Adams doesn’t like what they're
saying but Lili Gentle likes Nick

The George Nader Story: We stand ready
to post a small reward for anyone who
can write this story — or even explain it.
Here is a genial, handsome, apparently
completely uncomplicated guy who is
actually so complicated that no one, in-
cluding George Nader, can figure him out.
While Brando, Montgomery Clift and
Johnny-come-latelys to the rebel clan like
Scott Marlowe do what the head-shrinkers
call “acting out their hostilities,” Nader
goes breezing along, calm and unruffled,
stuffing all his emotional problems away
inside himself. As a result, girls like Dani
Crayne, Barbara Rush and Martha Hyer
find that attentions from Nader build up
to an awful let-down. Dani, especially, was
all tagged as the future Mrs. George Nader.
As the marriage rumors began, the romance
ended. When the rumors ended, the ro-
mance resumed. Career-wise, George is
equally contradictory. Perfectly willing to
admit he’ll probably never win an Academy
Award, he writhes inwardly when an in-
terviewer says something like, “After all,
you’re fairly typical of the actor who’s
pretty much made by the studio, wouldn’t
you say?” Nader is one of the most like-
able guys in town. He’s getting better and
better roles. But, we think, he still likes
his cats better than he likes most people.
On the other hand, maybe he’s got a point
there. Cats, after all, can’t talk back the
way too many people can.

Two nice people, Milly and John Eric-
son, found their own brand of happiness

which Jeff just made for United Artists,
may give him a happier outlook.

Tag Along: That’s what they’ve been call-
ing Nick Adams lately, pointing to his con-
stant attendance upon Elvis Presley and
remembering a similar devotion that
sparked his friendships with Natalie Wood,
the late James Dean and Kim Novak. As
Nick himself has said, he’s too good an
actor and has much too much potential
in his own right to exist merely as a
celebrity’s shadow. But methinks Nick pro-
tests too much about his friendship with
Elvis. Instead of denying that he’s riding
on Presley’s coattails, the best thing for
Nick to do would be to settle down and
make another picture, one in which he can P
do as competent a job as he did in “The
Last Wagon.” ( Continued on page 26)

Cliff Robertson got a late start but,
like Felicia Farr, he’s picking up

something new when the letter came. So
he tucked his best girl’s hand under his
arm and, again, did what any other young
boy would do — had one last fling, complete
with black tie and steak for dinner, before
packing his bag and heading for the bar-
racks and reveille of an Army training
camp. But he’ll be back!

with can be attested to by countless in-
terviewers and would-be interviewers, and
the fact that the resultant loss of publicity
hasn’t helped his career does not faze him
in the least. Well, we’re all for independent
characters and God bless them. But, like
elephants, they're usually nicer to look at
than to live with. The success of “Durango.”

Don't Count on It: When you see Jeff and
Marge Chandler looking so in love that you
almost feel embarrassed at being a witness
to it, take it with a grain of salt. Maybe
their remarriage will last forever, and
everyone hopes it does. But Jeff’s moods

Greetings from the President: Ben Cooper
read his draft notice with the same re-
action any boy would have. Sure, he wants
to go and sure, he wants to do his duty, but
gee whiz, did it have to happen now? Ben’s
latest picture for United Artists was “His
Father’s Gun” and he was all set to start

are so unpredictable and his temper so
swift and stormy that anything can happen.
It’s true that Jeff was pretty miserable dur-
ing their separation, and that he missed
his children even more, perhaps, than most
fathers, being a singularly solitary soul.
But that Jeff is a hard man to get along

The tide has turned for Anne Baxter
but Cesar Romero is happy as he is

It’s the “Heston Code of Conduct”
that keeps his marriage to Lydia happy

U-I, TECHNICOLOR

LET’S GO
TO

THE MOVIES

WITH JANET GRAVES

V'SV'V' EXCELLENT

VERY GOOD

GOOD

^ FAIR

Written on the Wind
VVV\/ Though Rock Hudson and Lauren Bacall lend
balance as two likably normal people, it is Robert Stack’s
performance that gives conviction to this flamboyant
drama. As the irresponsible son of oil millionaire Robert
Keith, he meets secretary Lauren on a trip to New York,
wins her in a quick courtship. In Texas as his bride,
she’s plunged into a hopelessly involved situation. Jeal-
ousy is mingled with Bob’s friendly devotion to Rock,
for his father relies on the steadier man in running the
firm. As Bob’s sister, Dorothy Malone is addicted to
drinking and man-chasing. And Rock has trouble con-
cealing his love for Lauren. In the violence that in-
evitably explodes, Bob remains a believable person, adult

BEST ACTING: ROBERT STACK

One look at Bob shows Lauren and Rock that he’s fallen off the wagon and that disaster lies ahead for all three of them

Loyal to America in his heart, Ernest tells
wife Virginia Christine that he is accused

Three Brave Men 20th, cinemascope

v'v'Vv' Ernest Borgnine, Ray Milland and other able
players add warmth and humanity to a near-documentary
treatment of the “security risk” problem. Suggested by
a real-life case, the suspenseful story casts Borgnine as
a long-time civilian employee of the Navy. Suddenly, he
is called a security risk and suspended from his job. His
plight also brings tragedy to his wife (Virginia Chris-
tine), his teen-age children (Diane Jergens, Warren
Berlinger ) and even to little Sandy Descher. Lawyer
Milland takes on the touchy assignment of defending
Borgnine; Navy officers Frank Lovejoy and Nina Foch
are thoughtful investigators; Dean Jagger is the third
“brave man” of the title. family

Continued on page 23

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LET’S GO TO THE MOVIES Continued

//// EXCELLENT V^'V' VERY COOD GOOD Y FAIR

As Anne and Rudy listen, Tom fumbles with “the facts of life”

BEST ACTING: CARROLL BAKER

Karl senses that Carroll and Eli are conspiring against him

The Great American Pastime m-c-m

V'/V'V' Never mind what you think the title means! The pas-
time in question is baseball, especially as played by the Little
Leaguers of the country. Here’s a bright, sprightly family com-
edy, with wonderful Tom Ewell as the suburbanite husband
and father, persuaded by wife Anne Francis to cozy up to their
rather aggressive male child, ingratiating Rudy Lee. But Anne
isn’t too happy when Tom gives way to his baseball mania by
agreeing to take on tbe managership of a local (and losing)
Little League team. It’s a noble gesture on Tom’s part, but it
backfires right in his innocent face. For one thing, little Rudy
is on the opposing (and offensively winning) team. For an-
other, comely widow Ann Miller has a son on Tom’s side, and
Tom misunderstands her motherly maneuverings. family

Baby Doll WARNERS

V'V'V A dazzling title-role job by newcomer Carroll Baker
speeds up the leisurely study of an eccentric lot of Southerners.
Luscious in limb and feature, Carroll portrays a rather retarded
lass, a nineteen-year-old who refuses to be a wife to her hus-
band until her twentieth birthday. Apparently a child in mind,
she is both shrewd and shrewish with the impatient Karl Malden.
Like the falling-down old mansion they share with her maiden
aunt (Mildred Dunnock), they’re lost in a vague succession
of days — until a wily alien barges into tlieir midst. Eli Wallaeb,
a Texan of Sicilian descent (formidable combination!), has
a vendetta with Karl, who sets fire to Eli’s too-profitable cotton
gin. Sex is tossed into the moviegoer’s face with about as much
subtlety as a Mack Sennett custard pie. adult

With John as leader, Sal on traps, a new band aims for fame

Rock, Pretty Baby u-i

'/V'V' Lively rock ’n’ roll music and the gay antics of some
attractive young players give interest to a teenager-parent tale.
At ease in his secondary role in “The Unguarded Moment,”
the very handsome John Saxon has more difficulty with this
lead. He’s expected to follow in the footsteps of his doctor
father (Edward Platt), but his mother (Fay Wray) and his
sweetheart (Luana Patten) sympathize with his musical ambi-
tions. The tension builds as John and his youthful bandsmen
compete in a disk jockey’s contest and pitch for a summer-camp
job. George “Foghorn” Winslow is appealing as John’s kid
brother. But Sal Mineo’s following won’t be pleased with the
minor chores assigned to him. However, Sal beats the traps
and wrestles with his girlfriend enthusiastically. family

A deadly triangle is formed when Elvis sees Dick greet Debt-

Love Me Tender 20th, cinemascope

V'V'V' Elvis Presley’s first picture shapes up as an agreeable
Southern-type Western, sturdy in content but apparently slapped
together in too much haste. As his older brothers, Richard Egan,
William Campbell and James Drury have fought the losing
battle of the Confederacy. The trio made off with a Union Army
payroll, and they have the loot with them when they return
to mother Mildred Dunnock. For Egan, who was believed dead,
the homecoming is marred by the discovery that his ex-fiancee,
Debra Paget, is now Elvis’ wife. The emotional conflict between
the brothers is brought to a climax when Union officials seek
the missing payroll. Presley’s song numbers fit into the pro-
ceedings pretty smoothly, and he’s commendably relaxed in
quiet scenes, but the dramatics at the end throw him. family

Continued

LET’S GO TO THE MOVIES Continued,

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Badgered beyond endurance, Dick is ready
to strike Mary, who seems meekly resigned

Finger of Guilt RKo

VV'V'V Here’s an ingenious mystery that
puts the moviegoer right into hero Rich-
ard Basehart’s situation, to feel with him
growing bewilderment and desperation.
Dick expertly plays a talented movie
producer, exiled from Hollywood because
of a scandal involving a woman. A re-
formed character, he is now the right-
hand man of British producer Roger Live-
sey and is happily married to the boss’s
daughter (Faith Brook). But a series of
letters threatens his future. They’re from
a girl begging for his love and claiming
that she has been his mistress. Blackmail?
No. This Dick realizes when he meets
the writer— sweet-faced, straightforward
Mary Murphy, doing her best work so
far, as an American actress in England.
Though Dick is sure he’s never seen her
before, her story and her manner are so
convincing that he begins to doubt his
own sanity. It’s a neat puzzle. adult

Marcelino umpo

V'VV' A beautiful Spanish film (with
titles in English) quietly captures the
atmosphere of Spain’s countryside and the
religious feeling of its people. Told as a
sort of legend, the story centers on a small
boy (enchantingly portrayed by Pablito
Calvo) brought up by a group of Fran-
ciscan friars. As a baby, he is left outside
their monastery. Since his parents cannot
be found, the brothers decide to adopt
him. Surrounded by love and understand-
ing. he grows into a delightfully normal,
mischievous boy. Each of the friars is
presented as a distinctive personality, so
the movie is rich in character. family

The Magnificent Seven Columbia
V'V'V' Like most of the important Japa-
nese films brought to this country, this
sturdy tale of action pictures the Japan
of centuries ago in one exquisite shot
after another. The seven men of the title
are all samurai, but they aren’t the splen-

didly attired, mighty warriors that the
term suggests. They are simply tired,
tough professional soldiers. Like Kip-
ling’s Tommy Atkins or the peacetime GIs
of “From Here to Eternity,” they are
neglected or distrusted by the civilians —
until their fighting strength is needed.
These seven are brought together through
a frightened appeal from a village threat-
ened by bandits. adult

Two Loves Had I JACON, TECHNICOLOR
V'V' Opera-lovers will find moments of
interest in this Italian-made music-film
(dialogue in English) based on the life
of Puccini. Portrayed by Gabriele Fer-
zetti, the composer of “La Boheme” and
“Madame Butterfly” is seen first as a
brash unknown storming the musical
citadel of Milan. Success comes quickly,
overshadowing his personal affairs. Marta
Toren is lovely and wistful as the sweet-
heart who bears him a child before he's
gotten around to marrying her. Hers is a
life of lonely waiting, but Puccini’s heart
remains with her, in spite of his brief fling
with prima donna Nadia Gray. While
artists from La Scala are heard in ex-
cerpts from the operas, the picture could
have used more music. adult

Rumble on the Docks Columbia

V'V' The junior version of “On the Water-
front” is notable chiefly as the debut of
James Darren, a good-looking youth who
shows some acting promise. As leader of
a teen-age gang that’s constantly attacked
by rougher rivals, he has traits of decency
and responsibility. But a feud with his
crippled, crusading father (Edgar Bar-
rier) makes young Jim easy prey for the
persuasions of union racketeer Michael
Granger. Even his gentle girlfriend (Lau-
rie Carroll) can’t make the boy see that
he’s lined up on the wrong side. There’s
plenty of action and tension, and a vigor-
ous rock ’n’ roll number is contributed by
Freddie Bell and his Bellboys. family

Eddie and Debbie

IN THEIR FIRST MOVIE TOGETHER!

Eddie
sings 6
wonderful
NEW
SONGS

wait ’til
you see
them
DANCE!

RKO Radio Pictures presents

BUNDLE OF

Co-starring

ADOLPHE MENJOU

TOMMY NOONAN

with NITA TALBOT • UNA MERKEL • MELVILLE COOPER
BILL GOODWIN • HOWARD McNEAR

Produced by EDMUND GRAINGER • Screen Play by NORMAN KRASNA
ROBERT CARSON and ARTHUR SHEEKMAN
Story by FELIX JACKSON . Directed by NORMAN TAUROG
Musical Numbers and Dances Staged by NICK CASTLE
Lyrics by MACK GORDON • Music by JOSEF MYROW

HEAR EDDIE SING

"Lullaby In Blue”

"Worry About Tomorrow, Tomorrow"
“All About Love"

"Some Day Soon"

"I Never Felt This Way Before"
"Bundle Of Joy”

TtCHNiCOLOft

RKO

RADIC

IISISI

Continued from page 19

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If at First: Cliff Robertson and Felicia Farr
are two young people who would seem to
have had much too much of the wrong
thing, picture-wise. Felicia is a very good
actress whose career somehow never got
off the ground, and Cliff Robertson started
his Hollywood career with a hang in “Pic-
nic.” then seemed to have ended it with a
whimper in “Autumn Leaves.” Cliff is now
making “The Girl Most Likely” with Jane
Powell, and Columbia is giving Felicia a
big build-up for “Three-Ten to Yuma.”

Local Doings: The newest feud is the one
between Eddie Fisher and his longtime
friend and manager, Milton Blackstone.
Since Eddie’s Coca Cola hour was can-
celled, he seems to be getting the career
jitters. Good reviews on his RKO movie
“Bundle of Joy” may put the light back in
his eyes, but things are a bit tense. Of
course, during the Debbie and Eddie ro-
mance Blackstone was charged with being
the heavy who didn’t want the lovers to
wed. This was not true, but it is true that

Dana Wynter changed her career
plans after marrying Greg Bautzer

We think in Cliff’s case he has tried too
hard to pretend that success didn’t matter.
He’s given everyone else the same idea.
Wanting success is nothing for which to
apologize, and neither is Cliff Robertson,
who has the makings of a very fine per-
former. Lately, he relented enough to be
willing to be seen here and there with the
proper date, at the proper places, though
he’s still a confirmed bachelor and a con-
firmed commuter to New York and his tiny
Greenwich Village apartment. But maybe
he and Felicia will both disprove the old
Hollywood adage that “If at first you don’t
succeed, you don’t succeed, period.”

Milton felt it would he a mistake for Eddie
to marry at that time. The fact that the
young singer’s popularity has waned so
sharply seems to prove Blackstone might
have had a point. . . . Cesar Romero keeps
going 'round and ’round. Now he’s dating
Anne Baxter, who’s making a career come-
back thanks to her performance in “Ten
Commandments.” . . . Elizabeth Taylor is
here today, gone tomorrow, and no one,
including Liz. seems really sure what she’s
going to do next. Incidentally, Miss Tay-
lor is reported as being less than flattered
at hearing Natalie Wood described as a

Continued

Thou Shalt Not: Charlton Heston long ago
chalked up the most important “thou shah
not” in his own life when he made up his
mind that a man who cheats on his mar-
riage. even lightly and unimportantly, is
headed for trouble. “It’s just not worth
it." said Heston, shaking his handsome
head for emphasis. “You lose your wife,
lose your home and. sometimes, even your
career.” Lydia was Chuck’s first girl and
it looks as though she’ll also be his last
and best. Chuck’s performance in “The
Ten Commandments” made us glad that
he’s as sensible as he is talented. Because
lie’ s right: A good many careers have been
washed down the drain when personal lives
got out of control. This is the value of
Heston’s private “Code of Conduct.”

Man-about-town Jeff Hunter seems to
be quite recovered from his divorce

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Tab Hunter seems to be telling Jan
Chaney off as Fess Parker bends an ear

Jean Simmons, Stewart Granger have
much to celebrate besides new daughter

A birthday party brings Lauren Bacall,
Frank Sinatra and Kim Novak together

IIMSIDE STUFF

Continued

“young Liz Taylor.” . . . The whole town
is pleased that the Jimmy Dean hysteria
has finally died down and that his fans
are at last willing to let the lad rest in
peace. . . . The people charged with trans-
lating the Elvis Presley rage into box-
office receipts at the movie houses have a
special problem. Hooky-playing teens
crowd the theatres at first. So what hap-
pens when they go back to school on a
non-holiday?

The Happiness Boys: John Ericson may
not have fulfilled the early hopes M-G-M
had for him, but his marriage • to Milly
is so happy it’s enough to make up for al-
most any disappointment. The happy-
though-marrieds in the film colony include
the Bill Campbells. Rock Hudsons, the
newlywed Greg Bautzers, Don Murrays
P (Oooh! so happy, these two!) and the
back-together-again Jeff Richards. The
success that brings some unhappiness

seems to have acted in reverse with Jeff.
He and his bride of less than a year broke
up when his career was limping, got back
together when success showed its face.

"Character" Actor: We’re happy to hear
that Marlon Brando hasn’t really settled
down to being as polite and neatly dressed
as was reported. Latest Brando story to
come our way tells of Marlon having din-
ner with the Mel Ferrers and the King of
Belgium. While Mel and the King con-
versed loftily in French, Brando chattered
happily away in jive talk (which he never
uses). When Audrey refused to be amused
or to take her eyes off her husband, who sat
across the table, Marlon spotted a slight
rip in her dress, yelled happily down the
table, “Hey, Audrey, your dress is torn.”
Ruined the whole effect.

Happy Hunters: Tab Hunter’s spirits are
slightly on the rise since they’ve inked
him in for “Lafayette Escadrille” and Jeff
Hunter seems to have settled down nicely
into bachelorhood, with fewer and fewer
people thinking he and Barbara Rush will

re-wed, despite their mutual devotion for
their son. Tab’s another young man who
seems to think the best things in life are
more easily had if pursued all alone.

Baby Daze: That’s what Jean Simmons
and Stewart Granger have been in ever
since the arrival of daughter Tracy. The
name confused newsmen, who wired their
editors that the Grangers had just acquired
a son! Neither Jean nor Stewart cared
which they got as long as it was healthy.
Happily she’s also pretty.

News Item: All his hundreds of friends
were saddened to read that Humphrey Bo-
gart had to check back into the hospital.
But maybe it isn’t as serious as people
fear. . . . Kim Novak still can’t seem to
stay very far away from Frank Sinatra,
while Ava Gardner, staying far, far away,
lets it be known she still isn’t thinking of
getting a divorce. . . . Jeanne Crain and
Paul Brinkman are now looking very lover-
like, so friends expect they’ll reconcile.
Marriages end in Hollywood, but some-
times thev’re made there, too — or remade.

HOW MANY FEATHERS
ON THE ROBIN?

Add up the figures and find out. Most anybody can add, but can
you add correctly? The reason people like number puzzles is
because they are fascinating. Fun right in your own home, and
CASH REWARDS for the WINNERS. Try it yourself.

$6360.00 IN CASH PRIZES

(NOW ON DEPOSIT)

FIRST PRIZE $2,000 including $500 bonus for promptness (see rule 2)

Second Prize $1000.00 9th to 13th Prize, each. . . .$100.00

Third Prize $500.00 14th to 18th Prize, each. . . $50.00

Fourth Prize $350.00 19th to 44th Prize, each. . . $25.00

5th to 8th Prize, each. . . . $200.00 45th to 75th Prize, each. . . $10.00

"v<3Fn

— HERE ARE THE RULES —

1. This is entirely a contest of num-
bers, strictly a Game of Skill. Add to-
gether the numbers that make up the
drawing of the Robin and get the SUM
TOTAL of the figures. The picture is
made up of single digits: 2, 3, 4, 5, 7,
8 and 9. There are no sixes, no ones, no
zeros. There are no double numbers like
“23”, etc. Just add 2 plus 3 plus 5, etc.,
and get the SUM TOTAL. There are
no tricks to this puzzle, just a problem
in addition. It is not so easy but if you
are careful you may get it exactly right.
Only persons sending a $5.00 contribution
to our Scholarships Program are eligible
for these Cash Prizes. No additional
donation will be required at any time
during the contest. Checks and Money
Orders should be made payable to
‘SCHOLARSHIPS, INC.’ Send cash if
yon prefer. Write ns for additional
puzzle sheets if you need them.

2. First prize is $1,500. If you send
your contribution before the date print-
ed on the entry blank you will qualify
for the $500 Promptness Bonus, making
the total First Prize $2000. The Prompt-
ness Bonus will be added to the first
prize only.

3. You should check and recheck your
solution carefully before mailing. Once
it has been sent it may not be changed
or withdrawn. A contestant may submit
an additional entry in this contest with
an improved score provided each such
entry is accompanied by the required
$5.00 contribution. We will acknowledge
receipt of your entry and contribution
promptly.

4. This contest is confined to persons
living in the United States, its terri-
tories and possessions including Alaska,
Hawaiian Islands, Guam, Canal Zone,
Puerto Rico and Virgin Islands. Per-
sons directly connected with Scholar-
ships, Inc., their advertising agency
and members of their immediate fami-
lies are ineligible.

5. Entries will be accepted from Jan-
uary 1 to April 10, 1957. Entries post-
marked April 10 will be accepted.

6. In case of ties on this Robin Puz-
zle the winners will be decided by a tie-
breaker number puzzle consisting of
drawing a path across a chart of numbers
to arrive at a high total. The contestant’s
position in the winning list will be deter-
mined by the best scores submitted; the
best answer will receive First Prize, the
second best answer will receive Second
Prize, etc. In case of ties on the tie-
breaker puzzle, prizes will be reserved
for the positions of tied contestants and
their final order of finish determined by
additional tiebreaker puzzles until a def-
inite winner for each prize is chosen.
Seven days will be allowed for working
the first tiebreaker puzzle and three
days for each subsequent tiebreaker. If
ties remain after seven tiebreaker puz-
zles, duplicate prizes will be paid.

7. It is permissible for any contestant
to receive help from their relatives or
friends but ONLY ONE SOLUTION
may be submitted to the tiebreaker
puzzle by any group working together,
and any solution known to have been

submitted in violation of this rule will
be rejected.

8. A complete report of this contest
including the names of all winners will
be mailed to every contestant just as
soon as the winners have been decided.
The sponsors of this contest reserve the
right to decide any questions that may
arise during the contest and persons
who enter agree to accept these deci-
sions as final.

C. L. KITTLE, Manager

Here is a contest soon over and soon
paid off. The rules are simple and com-
plete. It’s entirely a contest of numbers,
strictly a game of skill. We print the
winning answer with the name and ad-
dress of the winner, in fact we print the
names and scores of all of the winners.
A pencil is the only tool required and
yon start on an equal basis with every-
one else. No pictures to identify, no
statements to write. If you have never
taken part in a number puzzle contest
why not give it a try. Give yourself a
fair chance to succeed. This may be the
hobby you have been looking for. Oper-
ated by a non-profit corporation re-
quired by its charter to devote receipts
in excess of prizes, advertising and legi-
timate expenses to nurses training,
child welfare and other tax exempt
charitable purposes.

Miss Sally Sey-
mour is one of 29
nurses in training
at nearby hospitals
under our scholar-
ships, and writes;
“I would like to ex-
press my apprecia-
tion to those who
made it possible for
me to fulfill my de-
sire to become a
nurse. My grateful
thanks to Scholar-
ships, Inc.”

Mail to SCHOLARSHIPS, INC., Box 241, Lawrenceburg, Ind.

There are feathers on the Robin.

Type your name and address if possible. If not print by hand.

Name

Address

City Zone State

Donations mailed before FEBRUARY 20, 1957, qualify for Promptness Bonus.

SAL MINEO

Meet the girl who will meet Sal
Mineo and have him all to herself for a day
that even Cinderella would envy!

THE PRIZE - and THE

In the December, 1956, issue of
Photoplay we offered to “give Sal
Mineo away” for one whole day to the
girl who wrote the most interesting let-
ter on how she would plan to spend her
time with him. In addition, a great deal
of stress was laid on the fact that Sal
Mineo’s visit must be connected with
some civic undertaking or civic fund-
raising which could be benefited by the
presence of a Hollywood star.

On the opposite page, you see the
winner — Miss Nancy Donaldson of
Pontiac, Michigan. Nancy convinced us
— and Sal— that the erection of a civic
auditorium and recreation center for
young people would be enormously

helped by his presence in her town.

Because of this, lucky Nancy will
have, as the high point of her date with
Sal Mineo, the thrill of attending the
actual premiere of Sal’s new movie,
“Rock, Pretty Baby.” This is a teen-age
picture that does not present the rock
V roll set as a group of mixed-up kids,
but as normal, healthy youngsters.

Sal Mineo is pretty thoroughly and
firmly entrenched as a teen-age idol,
and he has earned his following in every
way. He was always a boy who knew
what he wanted. His drama coach,
Claudia Franck, says of him, “I had
never been willing to work with children
before, but Sal had such intensity, such

determination, that I took him on. Need-
less to say, I’ve never regretted it.”

Sal was playing the part of one of the
children in the Broadway production
“The King and I” at the time.

A beautifully-mannered young boy
with velvety dark eyes and an irrepres-
sible sense of humor, he’s far from the
playboy type. In fact, it was just a year
ago, when he was in New York for TV
work, that he appeared at a well-known
dance studio and signed up for dancing
lessons! His only vice is liking two
helpings of the biggest and gooeyest
desserts on the menu ; his hobby is tink-
ering with cars, taking them apart and
putting them back together again. He

NANCY DONALDSON

expects to enter Columbia this fall,
believing a college degree is essential.

This is the young man Nancy Don-
aldson will meet. And now the winner:

Nancy is a sophomore at Pontiac
High School. She’ll be sixteen on April
6. Pretty and popular, she was a class
officer in junior high, loves horseback
riding, and is an excellent swimmer.
Aside from the Dolphins, a girls’ swim-
ming club, she’s also a member of the
Amies sorority. Her talent runs to art.
and she’s in big demand as a poster-
maker for dances and the like; one of
her posters won a prize in an American
Legion competition. She’s not musical
or a performer, but she did take part
as a “Rockette” in a recent show for the
benefit of a local hospital. Like Sal,
Nancy was taught to think of others:
On Christmas Day two years ago a
thirteen-year-old Pontiac lad lost both
his legs in a tragic railroad accident.
Nancy started a fund for him with a
$25 bond; five weeks later the boy had
$15,000 in trust to assure him of medi-
cal care and a college education!

Thousands of letters were received
and carefully considered before a win-
ner was chosen, and the editors of
Photoplay want to thank each and
every one of you who entered the con-
test. Sal Mineo was deeply touched by
your interest and by the realization of
how many loyal fans he has.

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The true story of
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MARTHA HYER
DAN DURYEA

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Producer Otto Preminger found his Joan
in young Iowa schoolgirl Jean Seberg

What happens
to Hollywood’s
“Discoveries”?

The new “St. Joan ” is Jean
Seberg; her first stop is
England where the movie will
be made. And her next?

One day not long ago an enormous
party for the press was given by United
Artists to celebrate the finding and the
signing to a long-term contract of a
young girl named Jean Seberg. For
months, producer Otto Preminger had
been on the search for a young girl who
could play the part of Joan in his forth-
coming production of “Saint Joan”—
Bernard Shaw’s play on a theme which
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quality plus fire needed for Joan.

This search to find Joan, however, j

Directed by DOUGLAS SIRK Written by CHARLES GRAYSON and VINCENT B. EVANS Produced by ROSS HUNTER

can’t help but evoke memories of other
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Carol Ohmart found that bring “discov-
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CASTS

OF CURRENT PICTURES

BABY DOLL — Warners. Directed by Elia Kazan:
Archie, Karl Malden; Baby Doll, Carroll Baker;
Silva Vacarro, Eli Wallach; Aunt Rose Comfort,
Mildred Dunnock; Rock, Lonny Chapman; Town
Marshal, Eades Hogue; Deputy, Noah Williamson.

FINGER OF GUILT — RKO. Directed by Alec
Snowden: Reggie Wilson, Richard Basehart; Evelyn
Stewart, Mary Murphy; Kay Wallace, Constance
Cummings; Ben Case, Roger Livesey; Lesley Wil-
son, Faith Brook; Ernest Chaple, Mervyn Johns.

GREAT AMERICAN PASTIME, THE— M-G-M.
Directed by Herman Hoffman: Bruce Hallerton,
Tom Ewell; Betty Hallerton, Anne Francis; Mrs.
Doris Patterson . Ann Miller; Buck Rivers, Dean
Jones; Dennis Hallerton, Rudy Lee; Ed Ryder, Jud-
son Pratt; George Carruthers, Raymond Bailey;
Mr. Dawson, Wilfrid Knapp: Mr. O'Keefe, Bob
Jellison; Man Mountain 0 Keefe, Todd Ferrell;
Herbie Patterson, Raymond Winston; Foster Car-
ruthers, Paul Engle; Mrs. George Carruthers, Ann
Morriss; Samuel I. Garway, Gene O’Donnell.

LOVE ME TENDER — 20th. Directed by Robert D.
Webb: Vance, Richard Egan; Cathy, Debra Paget;
Clint, Elvis Presley; Siringo, Robert Middleton;
Grctt Reno, William Campbell; Mike Gavin, Neville
Brand; The Mother, Mildred Dunnock; Major Kin-
caid, Bruce Bennett; Ray Reno, James Drury; Ed
Galt, Russ Conway; Kelso, Ken Clark; Davis, Barry
Coe; Jethro, Paul Burns; Train Conductor, Jerry
Sheldon; Fleming, L. Q. Jones.

MAGNIFICENT SEVEN, T HE — Columbia. Di-
rected by Akira Kurosawa: The First Samurai,
Takashi Shimura; The Second Samurai, Yoshio
Inaba; The Third Samurai, Isao Kimura; The
Fourth Samurai, Seiji Miyaguehi; The Fifth Sa-
murai, Minoru Chiaki; The Sixth Samurai, Daisuke
Kato; l he Seventh Samurai, Toshiro Mifune; Riki-
chi, Yoshio Tsuchiya; Sliino, Keiko Tsushima.

MARCH LI NO — UMPO. Directed by Ladislao Vaj-
da: Marcelino, Pablito Calvo; Father Superior,
Rafael Rivelles; Brother “Door,” Antonio Vico;
Brother “Cooky,” Juan Calvo; Blacksmith, Jose
Marco Davo; Brother “Baptism ,” Adriano Domin-
guez; Brother Giles, Juan Jose Menendez; Brother
“Bad,” Mariano Azana; Brother “Ding Dong,”
Joaquin Roa ; The Mother, Isabel de Pomes; Don
Emilio, Rafael Calvo; Uncle Roque, Jose Prada;
Brother Moderno, Fernando Rcy; Civil Guard Com-
mander, Jose Nieto; Alfonsa, Carmen Carbonell.

ROCK, PRETTY BABY— U-I. Directed by Rich-
ard Bartlett: Angelo Barrato, Sal Mineo; Jimmy
Daley, John Saxon; Joan Wright, Luana Patten;
Thomas Daley, Sr., M.D., Edward C. Platt; Beth
Daley, Fay Wray; “Ox” Bentley, Rod McKuen;
“Fingers” Porter, John Wilder; “Sax” Lewis, Alan
Reed, Jr.; “Pop” Wright, Douglas Fowley; “Half-
Note” Harris, Bob Courtney; Twinky Daley, Shelley
Fabares; Carol Saunders, Susan Volkmann; Claire
Saunders, Carol Volkmann; Kay Norton, April
Kent; Lori Parker, Sue George; Mr. Reid, Walter
Reed; Bruce Carter, Glen Kramer; Johnny Grant,
Himself; Thomas Daley, Jr., George Winslow.

RUMBLE ON THE DOCKS — Columbia. Directed
by Fred F. Sears : Jimmy Smigelski, James Darren;
Della, Laurie Carroll; Joe Brindo, Michael Granger;
Rocky, Jerry Janger; Chuck, Robert Blake; Pete
Smigelski, Edgar Barrier; Anna Smigelski, Celia
Lovsky; Dan Kcvlin, David Bond; Frank Mangus,
Timothy Carey; Tony Lightning , Dan Terranova;
Poochie, Barry Froner; Wirnpie, Don Devlin;
Cliffic, Stephen H. Sears; Ferdinand Marchcsi,
Joseph Vitale; Gotham, David Orrick; Fits, Larry
Blake; Gil Danco, Robert C. Ross; Sully, Steve
Warren; Bo-Bo, Don Garrett; Fuller, Joel Ashley;
Fourteen-year-old, Salvatore Anthony.

THREE BRAVE MEN — 20th. Directed by Philip
Dunne: Joe di Marco, Ray Milland; Bernie Gold-
smith, Ernest Borgnine; Captain Winfield, Frank
Lovejoy; Lieutenant McCoy, Nina Foch; Rogers,
Dean Jagger; Helen Goldsmith , Virginia Christine;
Mayor Jensen, Edward Andrews; Enos Warren,
Frank Faylen; Shirley Goldsmith , Diane Jergens;
Harry, Warren Berlinger; Browning, Andrew
Duggan; Jim Barron, Joseph Wiseman; O’Reilly,
James Westerfield; Lt. Horton, Richard Anderson;
Miss Scott, Olive Blakeney; Diets, Robert Burton;
Sanford, Ray Montgomery; Alice, Sandy Descher;
Rut hie, Patty Ann Gerrity; Gibbons, Jonathan Hole;
Perry, Jason Wingreen; Susie, Barbara Gould.

I WO LOVES HAD I — Jacon. Directed by Car-
mine Gallone: Puccini, Gabriele Ferzetti; Elvira,
Marta Toren; Christina , Nadia Gray; Giacondo,
Paolo Stoppa; Delia, Miriam Bru; Ricordi, Sergio
Tofano.

WRITTEN ON THE WIND— U-I. Directed by
, Douglas Sirk: Mitch Wayne, Rock Hudson; Lucy
Moore Hadley, Lauren Bacall; Kyle Hadley, Robert
Stack; Marylee Hadley, Dorothy Malone; Jasper
Hadley, Robert Keith; Biff Miley, Grant Williams;
Dan Willis, Robert J. Wilke; Dr. Paul Cochrane,
Edward C. Platt; Hoak Wayne, Harry Shannon;
Roy Carter, John Larch; R. J. Courtney, Joseph
Granby; Sam, Roy Glenn; Bertha, Maidie Norman;
Reporter, William Schallert; Brunette, Joanne
Jordan; Blonde, Dani Crayne; Secretary, Dorothy
Porter.

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WAITING

Who’s waiting? Hollywood.
What for? A young lady
ivho can make up her mind

Not too long ago, they were “Waiting
for Lefty.” More recently, they were
“Waiting for Godot.” Now, they are wait-
ing for Ellie Kent. We don’t exactly know
why, but we have to take their word for
it. And a large part of Hollywood is in-
sisting that Ellie, personally and profes-
sionally, is worth waiting for. Since we’re
strangers here ourselves, we’ll let you in
on the facts as we know them and let you
make your own decision.

To begin with, her real name is Elinor
Byers. She is the daughter of a civil en-
gineer and a former schoolteacher, and
she was born in St. Louis, Missouri, on
September 20. 1932. She stands five feet,
five and a half inches tall, weighs a neat
118 pounds, and is a blue-eyed blonde.

Elbe’s career got under way when she
was eight years old and started to study
dancing. A year later, she was one of a
small group of girls chosen from 200 to
appear in St. Louis’ municipal operatic
production of “La Boheme.”

That was only the beginning. After ap-
plying a few more of her teen-age years to
high school studies, Ellie enrolled at the
University of Missouri, where for two years
site studied more dancing, as well as
drama. Next, she joined the noted June
Taylor Dancers, toured the country witli
them, and appeared regularly on Jackie
Gleason’s TV show. She also managed to
squeeze in a fair share of modeling and
night-club engagements before finally set-
ting her sights on Hollywood and a dra-
matic career.

Since arriving in Movietown, Ellie has
appeared in such films as “Rainbow Round
My Shoulder,” “The Las Vegas Story,”
“He Laughed Last” and “Cha-Cha-Cha-
Boom!” She will be seen next with Phil
Carey, Betty Garrett and John Barrymore,
Jr., in Columbia’s “The Shadow on the
Window.”

Now, back to the why and for what
“they” are waiting.

It all boils down to the fact that Holly-
wood can’t figure Ellie out. There she is,
bent on an acting career, with studio
executives interested in signing her to a

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being so contrary, and they make sense,
especially when you realize that she is a
very sensible, level-headed gal.

“I’m just not ready for it,” she explains,
her expression turning fittingly somber. “I
need more experience, and the kind of
self-assurance that comes with it. I’ve seen
too many girls signed up, given walk-on
parts — and stick with them. Most of them
are never heard of again.

“So,” says Ellie firmly, “I’ll wait. And
when I do sign a contract, it will have a
meaning.”

Then she adds pleasantly, “Now, is
there anything else you would like to
know?”

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to know that Ellie is in private life Mrs.
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THAT’S
HOLLYWOOD
FOR YOU

W hen Sidney talks to Jayne Mansfield,
there’s a strange mystery between them

I’d say Jerry Lewis is out to prove he
can be a success alone. Dean Martin
isn’t. . . . Tab Hunter is taller and
stronger than he first appears to be.
. . . Cheesecake : The first performer to
whom the label “cheesecake” was ap-
plied was Elvira Amazar, a Russian
opera singer, when she arrived in this
country back in 1915. . . . Elia Kazan

Jerry Lewis, a success as a solo per-
former, is a bigger success as a person

finally got around to discovering a red-
hot sex dish for the screen: Carroll
Baker. . . . When I’m talking to Jayne
Mansfield, she’s standing closer to me
than I am to her. . . . Cary Grant was
hypnotized (by wife Betsy Drake) to
stop smoking. It worked so well that
Cary not only gave up cigarettes but
also liquor. . . . Frank Sinatra has good
taste in wine, women and songs. . . .
Admission tickets should be sold to visit
Debra Paget at home. . . . Kathy Grant’s
real name is Kathryn Grandstaff. And
as I put typewriter keys to paper, it’s

still a big question whether the name
will ever be Kathy Crosby. . . . After
seeing one of the longie movies which
shall be titleless, Sheree North com-
mented. “Enough is too much.”

Rod McKuen is an actor to watch. A
word to the wise is supposed to be suffi-
cient. ... I wonder if the prize fighter
Rory Calhoun is helping the popularity
of the actor Rory Calhoun, or vice versa.

. . . Cleo Moore said it: “If you want
to learn more about men, become a
blonde.”

I believe Bob Wagner would do bet-
ter if his insecurity wasn’t showing. . . .
You just know Kim Novak is in the
place because she is a loud laugher. . . .
I’m pleased Shirley MacLaine is in a
big hit (“Around the World in 80
Days”). Now I’m waiting for a movie in
which Shirley dances and exhibits her
legs. . . . Anne Baxter is getting sexier.
Well, to me anyway. . . . Beefcake: First
actor to get the coined beefcake label
was Tony Curtis. . . . Little-known fact:
Tony Perkins wears contact lenses.
Tony also carries a small recording
machine with him to important con-
ferences. . . . Regardless of whether
they dub in her voice or her singing,
they don’t have to dub in Anita Ekberg.
She’s for real. ... By the way, Audrey
Hepburn fell in love with Mel Ferrer
when she saw him in “Lili.” Never un-
derestimate the importance of a good
movie. . . . Hollywood is an over-popu-
lated village trying to act like a city. . . .
Barbara Nichols’ definition of a genuine
movie star: “One who’s still one when
they show his movies on TV.”

Doris Day is representative of the All-
American girl, and I wish all All-Amer-
ican girls could be as wealthy. . . . With

very few exceptions, night clubs are a
relic of the past. . . . My favorite view
of Hollywood, despite fog and smog, is
from Sunset Boulevard at night: the
town is spread out and appears to be
miles and miles of vari-colored electric
lights, and they don’t spell out anything.
. . . Natalie Wood admits she falls in
love too easily. “It’s not really love, I
guess,” explains Natalie. “I guess it’s
fascination. It’s also fun.” . . . Liz Tay-
lor telling Mike Todd about a certain
actress: “She had more money than
she could afford.”

I don’t care what anyone says, Tony
Curtis is improving as an actor and as a
person. ... I wonder if Gary Cooper
has kept count of the number of actors
who have been called “another Gary
Cooper.” . . . Rod Steiger is very popu-
lar in London, and I don’t mean just
with Diana Dors. . . . After a preview,
Mike Curtiz was asked: “Is it possible
for this movie to be a hit?” Mike re-
plied: “Nothing is impossible if it’s
possible.” That’s Hollywood for You.

Debra Paget and sister Lisa can well be
amazed at Sidney’s suggestion for them

yvw EXCELLENT yyy VERY GOOD

GOOD ^ FAIR A — ADULTS F — FAMILY

For fuller reviews, see Photoplay for the months
indicated. Full reviews this month are on page 20.

^W' ANASTASIA — 20th; CinemaScope, De Luxe
Color: Brilliant acting by Ingrid Bergman and
Helen Hayes enlivens a drama of Russian exiles in
Paris. Adventurer Yul Brynner grooms Ingrid to
play Grand Duchess. (F) January

kVkV AROUND THE WORLD IN 80 DAYS—
Todd; Todd-AO, Eastman Color: Colossal! Yet it's
light and entrancing. Stuffy Britisher David Niven
does the globe-circling jaunt on a bet in 1872, with
Mexico's great Cantinflas as his valet, big stars
in bit parts. (F) January

✓kV ATTACK! — U.A.: Slashing, often horri-
fying drama of war in Europe. Strong all-male cast
is led by Jack Palance, as a fighting man. and
Eddie Albert, as an officer whose cowardice en-
dangers the GIs. (A) November

v'v'v'v' BEST things in life are free,

THE — 20th; CinemaScope. De Luxe Color: Musi-
cal success saga of the 1920"s. Gordon MacRae,
Ernest Borgnine. Dan Dailey are a composing
team; Sheree North is Gordon s girl. ( F) November

1/1/ CURUCU, BEAST OF THE AMAZON— U-I,

Eastman Color: Vivid Brazilian backgrounds rescue
a wobbly melodrama. John Bromficld and Beverly
Garland track a "‘monster.” (F) January

V/*/ DEATH OF A SCOUNDREL— RKO: George
Sanders neatly plays the suave rogue, tycoon just
asking to be murdered. Among his women: Yvonne
De Carlo, Zsa Zsa Gabor. (A) December

V/j/k/ EVERYTHING BUT THE TRUTH— U-I,
Eastman Color: Amusing but meaningful comedy of
polities. Schoolmarm Maureen O'Hara and colum-
nist John Forsythe hack little Tim Hovey when the
kid’s honesty starts a scandal. (F) January

V'V'V'V FRIENDLY PERSUASION— A.A., De
Luxe Color: Warmth, gentle humor illuminate the
story of a Quaker farm family in Civil War days.
Gary Cooper, Dorothy McGuire are parents of
teenagers Tony Perkins and Phyllis Love and little
Dick Eyer. (F) December

VWV GIANT — Warners, WarnerColor: Sweep-
ing tale of a turbulent marriage. Settling in Texas
as rancher Rock Hudson’s bride, Liz Taylor has
trouble adjusting to her new home. Cowhand James
Dean strikes it rich in oil. (F) January

|/// GIRL HE LEFT BEHIND, THE — Warners:
Sprightly story of today's Army. Mama's hoy Tab
Hunter is a reluctant draftee; Natalie Wood, his
sensible girlfriend. (F) January

V'V'V'V' IF ALL THE GUYS IN THE WORLD . . .
— Buena Vista: Enthralling, heartening interna-
tional film (titles in English). “Ham"’ radio oper-
tors and fliers of several nations save fishermen
stricken at sea. (F) January

l/k/l/ JULIE — M-G-M: Taut, hard-driving sus-
pense movie. Fleeing death threats from her in-
sanely jealous husband (Louis Jourdan), Doris
Day returns to airline-hostess work. Barry Sulli-
van’s her loyal friend. (F) December

V'V' MAN IN THE VAULT— RKO: Mild action
yarn makes locksmith Bill Campbell the unwilling
tooL of a racketeer in a bank-looting deal, with
Karen Sharpe as Bill’s girl. (A) January

Continued on page 40

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Continued

l/l/ PUBLIC PIGEON NO. 1 — RKO, Techni-

color: Red Skeltons showmanship lifts a creaky
farce about a timid soul taken in by con-men.
Janet Blair s his loyal sweetie. (F) January

l/l/ l/l/ RACK. THE — M-G-M: Deeply under-
standing close-up of an officer on trial for collabo-
ration in a Korean prison camp. Fine acting by-
Paul Newman, as the defendant, Walter Pidgeon,
bis father, Anne Francis, bis sister-in-law, Edmond
O'Brien, defense attorney. (A) June

REPRISAL! — Columbia, Technicolor: West-
ern with good intentions. Hiding his own Indian
ancestry. Guy Madison buys land near a town where
Indians are persecuted. (F) January

/V^ SECRETS OF LIFE — Buena Vista, Techni-
color: Interesting but patchy documentary of birth
and the fight for survival among plants, insects,
water creatures. (F) December

1/1/1/ SHARKFIGHTERS, THE— U.A.; Cinema-
Scope, Technicolor: Brisk action picture shows
Victor Mature leading risky World War II ex-
periments off Cuba, to find a shark-repellent. With
Karen Steele, James Olson. (F) December

i/l/l/l/ SILENT WORLD. THE— Columbia, Tech-
nicolor: Beautiful, exciting, true adventures of
aqua-lung inventor Cousteau and his men. ex-
ploring ocean depths. (F) December

l/l/l/ SILKEN AFFAIR. THE— RKO: In a gentle
worm-that-turns story, accountant David Niven
creates havoc by juggling the hooks, led on by
French model Genevieve Page. (A) January

l/l/l/!/ SOLID GOLD CADILLAC, THE— Colum-
bia: Laugh-loaded spoof of big business. Small
stockholder Judy Holliday snoops into the direc-
tors’ dealings (they’re crooked), pursues Paul
Douglas, the firm's ex-boss. (F) October j

1//W TEAHOUSE OF THE AUGUST MOON, i
THE — M-G-M; CinemaScope. Metrocolor: Quaint,
charming comedy of U. S. occupation forces in
Okinawa. Officer Glenn Ford's led astray by inter-
preter Marlon Brando and lovely geisha Machiko
Kyo. (F) January

1//1/ TEENAGE REBEL— 20th, CinemaScope:
Fresh, heart-catching study of a parent-teenager
relationship. Wed to Michael Rennie, Ginger
Rogers tries to win over Betty Lou Keim, resent-
ful child of her first marriage. (F) November

l/l/l/l/ TEN COMMANDMENTS, THE— Para-
mount; VistaVision, Technicolor: Overwhelming
DeMille epic of Biblical times, forcefully acted by
Charlton Heston as Moses, Yul Brynner as Phar-
aoh, many other stars. (F) January

l/l/l/ UNGUARDED MOMENT, THE— U.I. Tech-
nicolor: Serious, though a bit sensationalized.
When schoolteacher Esther Williams accuses stu-
dent John Saxon of attempted attack, only detec-
tive George Nader helps her. (A) December

V'V'V'V' WEE GEORDIE— GO, Technicolor: De-
lightful British comedy, with lovely Scottish back-
grounds. Shy athlete Bill Travers winds up com-
peting in the ’56 Olympics. (F) December

V'V'V WESTWARD HO THE WAGONS!— Buena
Vista; CinemaScope, Technicolor: Familiar West-
ern sparked up by good details, Fess Parker as
doctor-scout of a wagon train. (F) January j

l/l/l/l/ YOU CAN T RUN AWAY FROM IT— j

Columbia; CinemaScope, Technicolor: Sparkling
musical teams runaway rich girl June Allyson with
debonair reporter Jack Lemmon. Nice combo ol
laughs, sentiment, song. (F) December

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BY JOE HYAMS

Tk/s is not a “fan magazine ” story .

This is the story of a very human being named Roy Fitzgerald*
who also happens to be a movie star.

IT s Rock’s story , told as he lived it. And , like Rock ,
it’s not at all as you’d expect it to be

THE ROCK HUDSON STORY

Continued

• At Lackland Air Force Base in San Antonio, Texas, a WAF
sergeant paused while sorting the day’s mail, to shout, “It’s
here, girls!” Four WAFS clustered excitedly around to examine
the letter she held, then discreetly disappeared while the ser-
geant delivered it to a tearful recruit lying face down on her cot
in the barracks. It took a little while for the girl to realize
what the sergeant was trying to tell her, and even longer to
believe it. When the message finally got through to her, she sat
bolt upright, reached for the proffered letter, and looked, un-
believingly, at the name on the upper left rim of the envelope —
Rock Hudson. Still unconvinced, she gently opened the letter
and slowly read it. Then she read it again. It was Rock’s
response to an “emergency telegram” sent by her barracks-mates,
who had wired Rock, “A letter from you would make her feel
like a woman again, and not just another soldier.”

The letter served its purpose.

In Boston, Massachusetts, a grateful father recently, contributed
$200 to the Crippled Children’s League in Rock Hudson’s name,
as thanks for an autograph sent to his eleven-year-old daughter
who is suffering from leukemia. “My daughter is the happiest
girl in the community and the envy of all her friends,” wrote the
father. “Your picture worked better than any medicine.”

A thirty-four-year-old woman in Blackburn, England, wrote
to Rock Hudson : “I can sew, cook, knit, darn, typewrite, milk cer-
tain cows, speak French, dive from low heights, cycle about eighty-
miles a day without being in practice, ( Continued on page 90)

What made him change? What turned
Rock Hudson from “ a beautiful hunk
of man ” into a fine actor? Why did he
marry Phyl Gates? How did he break
away from the “beefcake” publicity?
Why did he suddenly zoom past
other actors like friend George Nader?

BY HOWARD EISENBERG

' This is the story of how an almost-broken
engagement led to one of the happiest marriages in Holly-
wood and proved the wisdom of waiting for love

• The low black sport car sped smoothly through
the star-studded darkness of the desert night to-
ward McCarran Airport in Las Vegas. It was
four o’clock in the morning, and the man behind
the wheel was Eddie Fisher. He was in town to
look over the Tropicana, a new twelve-million-
dollar hotel, where he was scheduled to begin an
engagement within the next few weeks. He had
stayed up late to drive two friends to the airport.
But as the car drew up in front of a sign reading,
“Parking to unload passengers only,” Eddie fell
suddenly silent, as though he were listening for
something — or to someone no one else in the car
could see. A moment later he broke his strange
silence to say abruptly, “I’m going back to Los
Angeles with you.”

As the three parked the rented car and climbed
out, someone called, “Hey, Eddie!” They turned
around to find accordionist Dick Contino running
toward them. He was saying goodbye to his
striking blonde wife, Leigh Snowden. She was
returning to L.A., but he had to stay on for an
engagement at a local night club.

“Just the man I want,” Eddie said, when Dick
told him this. “Do me a favor, will you? Take
this car I came in back to town. I’ve just decided
to go back home. This town is no place to be
without your wife. And besides,” he grinned, “I
think I hear the baby crying.”

This is the marriage that climaxed one of the
most talked-about, guessed-about, written-about
engagements in history. (Continued on page 88)

If Rory’s child ever thinks it’s
smart to break the law , here is what
a man who has been on both sides
of the fence will have to say about it

Rory looks forward to being companion to his
child, as he has been to his nephew, Billy Cox

• That’s what I thought to myself the other day :
“How stupid can you be?” I was reading a
newspaper story about a teenager who had been
arrested for stealing parts from parked cars.
“Lots of kids do what I did,” this kid was quoted
as saying. “The only thing wrong about it was
getting caught.”

It made me so sore to read that statement made
by a kid I didn’t even know, that I sat there
fuming, wishing I could get my hands on him
and shake some sense into him. I wanted to shout

The Calhouns regard parenthood as a great priv-
ilege. They practice on Guy Madison’s Bridget

at the foolish lad, “How stupid can you be?”

I feel I have a right to talk like that because I
was once pretty dumb about such things myself.
I was one of those “smart” kids who thought it
clever to break the law. But I have news for that
youngster, and any others like him. It isn’t smart,
it’s stupid. I found that out the hard way.

I -have since had to pay the price for every
mistake I ever made. I had to bring shame and
suffering to the people who were close to me
when I admitted to ( Continued on page 104)

At his ranch in Ojai, Rory and Lita help boys
who have lost their way in life to find it again

a * ..
\U/s?

Movie

STAR

ST7

All She

Wants to Be

Granted, it was not a simple wish
is not a simple girl •

- but then, Jayne Mansfield
BY JOHN MAYNARD

• Miss Jayne Mansfield, whom you will be seeing in the
20th Century-Fox picture, "The Girl Can’t Help It,” has
always wanted to be a movie star. Ever since she was a
very little girl in Bryn Mawr. Pennsylvania, a slightly
less little girl in Dallas, Texas, and a spectacularly big
girl, first on Broadway, New York, and now in Holly-
wood, California, she has wanted to be a movie star.

"I could taste it and smell it and live it,” she told a
friend recently. "First I wanted to be an actress, then I
wanted to act, now I want both. But especially to be
a star.”

Nor did she want this in the approved, simpering man-
ner. known here and there as the Art-Is-All-Monev-and-
Autographs-Nothing approach. She wanted to be a star
in the grand old manner, the nearly forgotten scope for
which Hollywood old-timers sigh nostalgically. She
wanted — she knew she wanted — a pink Jaguar, a glass
house, excursions to Vegas and Palm Springs and
Moeambo, a wardrobe of a sort that would turn Joan
Crawford frumpy. The pattern { Continued on page 80)

If Rossano has off-screen romances like these on-
screen with June Allyson and Joan Crawford, wife
Lidia refuses to believe it, merely laughs it off

• “There are,” said Rossano Brazzi, “comparatively
few unhappy marriages in Italy. I believe the reason
is that Italian wives are wise enough to realize that
simply because a man is married does not mean he
automatically loses all interest in the opposite sex.
And if a husband flirts a little now and then — where
is the harm in that? Unless, of course, some busy-
body takes something innocent and blows it into
something big. Then someone gets hurt. That is bad.
Very bad.

“It is also,” Rossano announced flatly and firmly,
“foolish and unnecessary.”

The place where this conversation occurred was
perfect for such talk. It was a comfortably furnished
living room in a small ( Continued on page 100)

No tears, please — and no scenes. No
lipstick-smudged collars and nothing
so untidv as divorce. Let Rossano Brazzi

tell you how love can be charming

It’s the Loneliness That Gets Them

• There is one thing against which the head of Hollywood’s
famed Studio Club warns all newcomers, and that one thing
is not the danger of hunger or of failure, but loneliness.

“It’s the loneliness that gets them,” she has said many times.

“If a girl has a family who believes in her and who writes
her regularly, or friends out here, the chances are she
can stand up to the disappointments and the setbacks
she’s bound to encounter. But without that, a girl has a
really difficult time making a go of it.” Martha Hyer, rapidly
rising young Universal-International player, has been luckier than
most. Fame came fairly quickly. She has a family that
could afford to send her money while she was getting
established and pursuing dramatic studies. She had the
poise of a college education. But even for Martha, there were
times when she wanted to turn back ... to go home. But
when you are young, and you have set your foot on a certain
path, pride compels you to follow it stubbornly. The
loneliness comes with the night. With the dawn, there’s a
new day in which to hope, to dream and, with luck
and hard work, even to achieve. Even in Hollywood.

MARTHA HYER IS IN U-l’s “BATTLE HYMN” AND “MISTER CORY”

1 HI: 14 II * i:i y

v ; Vx

Audie Murphy won his war on the battle -
field. Ten years later he had to win another
secret war , on which his life depended

BY VICKI RILEY

The Croix de Guerre, France's high-
est award; the Congressional Medal
of Honor , our highest award. Yet
Audie Murphy felt he had failed

• Audie Murphy, who still looks like a
baby-faced college boy, is one of the greatest
heroes our history will ever know. He is one
of the few living recipients of the Con-
gressional Medal of Honor, which was
awarded to him when he was just nineteen
years old. Rare and wonderful though this
kind of courage is, it took even a greater
and a rarer courage for Audie to be able to
say, as he did recently, “I now know that
the failure of my first marriage was largely
my failure.” And then to add, “I’ve got a
long way to go yet, but I guess I’m begin-
ning to get so I can live with people.”

A strange statement for a young man to
make, but no stranger than the struggles
and the inner problems this particular young
man had to face on the long journey that
carried him from nightmare-shattered nights
to the inner peace of a man who has learned
how to live with himself.

How did it happen? Where did it begin?
And why?

Ten years after the war, Audie Murphy
was an uncertain, insecure person who was
sure of nothing but ( Continued on page 83 J

She blows hot and cold — carries on torrid love scenes with her hus-

band in public but greets publicity with the icy reserve of royalty .

Which is why Ekberg confounds even Anita

• Imagine a volcano erupting in the middle of a frosty iceberg.
Imagine a South Seas island suddenly blanketed with snow. Imagine
the most bewildering and unpredictable female this side of the Arctic
Circle and you have a fair picture of Sweden’s latest contribution to
the movie world.

“I do exactly what I like,” stated Anita Ekberg. We were lunching
at an English tavern near the Warwick studio, Anita, her new husband,
who is Anthony Steel, and I. To prove her statement, Anita passed
up the Scotch everybody else was taking and ordered tomato juice.

“Why should I drink when I don’t feel like it?” she demanded,
facing me squarely. “Often, I go to a cocktail party and everyone is
drinking. I don’t want a drink. So I ask for a glass of milk.”

“You don’t feel you’re offending the hostess?” I inquired.

“Why?” Anita promptly parried. “Haven’t I been invited to enjoy
myself? Why shouldn’t I do what I please?”

Anita sat before me, looking very self-assured, a typical Scandi-
navian trait.. She was wearing a powder-blue silk dress, which clung
to her well-aligned figure like a wet stocking. ( Continued on page 106)

Beginning this month, PHOTOPLAY brings yon the latest
gossip about the stars, gathered from two continents
and written by a woman who is an intimate friend of the
fabulous people about whom she writes. If you leant
to know the truth behind the headlines, here it is

h'.lizubeth Taylor and Mike Todd had
their first serious quarrel when she
realized he would he boss if they wed

Sorry, W rong Era

If Elizabeth Taylor had been born in
the time of Louis the Fourteenth she’d
have felt right at home among the royal
splendors and even more royal extrava-
gances of that glorious king. That’s one
reason I wasn’t as surprised as most
people when Liz flipped over Mike Todd.
Mike may not look like a king, but he
certainly spends like one. And Liz was
born to be the pampered darling of a
daring adventurer — which he is — with all
Mike’s reckless extravagance. But it was
the fact that she has always been a
“pampered darling” that precipitated
their first quarrel. Liz may wear Mike’s
30-carat engagement ring, but he wears
the pants! It was this realization, that

her future husband would brook no non-
sense, that prompted their first serious
disagreement and made her stop her im-
pulsive desire to dash off to Mexico for
a quick divorce. Instead, she decided to
file in California, which gives her a whole
year to contemplate a future with — or
without — this fabulous man as Husband
Number Three.

But knowing Mike, I know two things:
he’s a reckless, impatient sort of man who
wants what he wants when he wants it —
and usually winds up getting it. If he
has to wait a year for Liz, I don’t think
there will be a marriage. However, Liz
will find this generous, dynamic guy a
hard man to get over. For instance, Liz
and Mike were dining at the Colony in
New York when Liz, who adores jewelry.

Marilyn Monroe and Vic Mature met Queen
Elizabeth, but even more exciting things
were happening in their off-stage lives

happened to admire a beautiful bracelet
in the Van Cleef and Arpels window, on
display in the lobby of the restaurant.
Mike immediately dispatched someone for
the key to the window, had it opened,
wrote out a check for $2500 and pre-
sented the bracelet to Liz then and there!
Quite a contrast to quiet, unemotional
Mike Wilding and his modest gifts!

To Be or Not To Be

My European correspondent tells me
that everyone on the far side of the
Atlantic is insisting that Marilyn Monroe
is pregnant. Her personal opinion, my
friend cables, after sifting all the rumors
and this-a and that-a, is that MM is
enceinte, but she adds, “Remember, this
is only my personal opinion.”

About “The Sleeping Prince,” Warner
Brothers, who will release this picture,
are unhappy, but not about the picture.
It’s the title that has them worried.
They’re afraid that too many people will
think “The Sleeping Prince” implies a

When they were making a movie together
Bob Mitchum came under Deborah Kerr’s
spell and learned never to call her Debbie

fantasy or ballet, instead of a highly-
charged romantic comedy. What do you
think? Would this title keep you away?
Just how important is a title to you? I,
and Warner Brothers, would appreciate
the fans’ opinion, so let’s hear from you.

Purely Personal

Of all the people I knew “when,”
Audrey Hepburn has changed the most —
for the worst. . . . Why do columnists
who claim to be Deborah Kerr’s “in-
timates” call her “Debbie”? . . . Stewart
Granger has a beautiful young daughter,
but he should start dieting her now. . . .
I’ve never seen Joan Crawford when
she doesn’t look like a star. . . . Why
doesn’t some astute producer find a
vehicle for Greer Garson like “Madame
Curie” and “Mrs. Miniver,” instead of

You’ll find movie stars galore in Netv
York, and Esther Williams and Judy
Garland report the food is too good

allowing her fine talent to go wasted? . . .
Doesn’t it figure that Douglas Fairbanks,
Jr., and Ty Power, who both yearn for a
son to carry on a famous family name,
have five daughters between them, while
Greg Peck, who hoped that Veronique
Passani would give him one daughter, has
three sons? . . . Nancy Kelly is not only
one of the most generous actresses I
know, but also the most thoughtful. For
my birthday, she sent a masseuse over to
my apartment with a gift course of ten
treatments! . . . Every time Evie and
Van Johnson have a quarrel, he packs
his wallet and goes to a double feature!

Famous Fugitives

How would you like to see Marlon
Brando, Shelley Winters and new young
star Carroll Baker in person? All you
have to do is walk over to Central Park
West and 73rd Street in New York City
and there, in a certain big apartment

The Princess Grace of Monaco strikes a
regal pose beside her Prince, but Radie
chides her for a breach of etiquette

building, you’ll find all of them dropping
in on the Lee Strasbergs and their en-
chanting daughter Susie, to discuss their
classes at the Actors’ Studio. Stroll over
a few blocks north, and with any luck
you’ll spot Judy Garland and Ethel Mer-
man coming out of the Park Lane; both
of them have permanent apartments
there. Go over to Sardi’s for lunch and
you’ll find half of Hollywood there. You’ll
see Fernando Lamas. Thelma Ritter, Judy
Holliday. Nancy Kelly, Michael Redgrave
— but why go on? New York’s the place
to see the stars, all right!

Graceless Grace?

When I was visiting in Monaco last
summer Her Grace, the Princess of
Monaco, and Prince Rainier were away
on a yachting trip, but her secretary was
kind enough to arrange a private tour

Paris was warm, but it left John Kerr
cold — to the press and to co-workers who
tried to guess the reason for his moods

Continued

Gene Tierney's mother wanted only the best for her
daughter, as Gene wants only the best for hers, but the
end result has left each daughter motherless and alone

“How far must I travel to be where you are?” This is the
love song Ava Gardner sings until, like Walter Chiari,
love catches up with her; then she flees. Will she again?

Where will their lonely journeys end?

Each man who has entered Libby Holman's life, including
two husbands and son Chris Reynolds, has been touched
by the tragedy that seems to follow her. Are good friend
Montgomery Clift’s recent crack-ups continuing the jinx?

On her birthday, Rita Hayworth received
a gift of diamonds, but what she’d prefer
would be a gift of love and permanence

aside thoughts of a quick replacement

■

While others were hurrying from some-
place, Jean Pierre Aumont hastened to
something — Hollywood and his Marisa

Continued

of the palace for me. I wrote a very
flattering article about this visit, and
when Grace arrived in New York shortly
afterward I forwarded a copy of it to her
Fifth Avenue apartment. But did she
have the “grace” to acknowledge it? No!
And should I be surprised at this rude-
ness? Yes! First of all, she has a per-
sonal secretary to help handle her mail,
so she can’t plead that she is too busy.
Besides, as I discovered a long time ago,
the busiest people always have time for
everything. And so I am taking this
opportunity to chide her and remind her
that one of the earmarks of royalty is
graciousness, as it is of any true lady.

Paris Blues

Our Paris correspondent reports that
although she saw John Kerr at St. Tropez
and in Paris, they didn’t speak to one
another. This was not due to any reluc-
tance on her part, but to the fact that
Mr. Kerr was not speaking to any mem-
bers of the fourth estate, and was, in fact,
moody and dispirited. He may have been
just homesick, but whatever the cause,
Mr. Kerr did not make many friends
while filming “The Purple Harvest.”
About the nicest thing that the press said
about him was that he seemed very, very
unhappy about the production, his co-
players and life in general. . . .

Broken Melody

It is always painful to write about a
friend’s illness — especially a mental ill-
ness— but there have been so many in-
quiries about Gene Tierney, and so much
wild speculation, that as someone who is
deeply fond of her I’d like to assure her
countless fans throughout the country
that the recent unexpected setback which
sent her back to a sanitarium is a tem-
porary one. True, she lost a chance to
make “Wayward Bus,” but there will be
many other films in the future. In the
meantime, how did it happen?

Well, it seems that life, which was so
prodigal with gifts to Gene in one hand,
took them away with another. She was
brought up in a happy, wealthy house-
hold with the companionship of sisters
and brothers. Success on the stage and
screen came to her early and easily. Her
life was all smooth sailing. Then her
parents were divorced and Gene’s mother,
instead of concentrating on her own life,
began to live for Gene. Like all mothers,
Belle Tierney hoped her daughter, with
all her advantages, would make an advan-

tageous marriage. She never really felt
that Oleg Cassini was the answer to her
prayers. So, when he and Gene were
divorced and Aly Khan entered the scene,
after his divorce from Rita Hayworth,
Belle was sure that here was the real
Prince Charming, who had verything to
offer Gene — the cosmopolitan life she
loved, with a beautiful villa on the
Riviera, a town house in Paris. Aly had
charm, wit, intelligence and breeding —
and great wealth. Gene needed a rich
alliance — not for herself but for her
daughter Daria. This darling elder child
of hers is in need of constant medical
care and has been since birth. Gene has
carried most of the cost of this care, a
tremendous financial burden.

Yes, Aly had everything to offer Gene
— everything but marriage! His father,
the Aga Khan, is very fond of Gene, but
after the Hayworth episode he didn’t
want another marriage with an American
film star. If only Gene and Belle Tierney
had accepted this verdict, how much
heartache they might have been spared !
But Gene was so hopelessly in love, and
her mother so anxious for this wedding,
that Gene continued to see Aly anyway.

They met in London, Paris, New
York, Hollywood, Mexico — everywhere
surrounded by reporters, who pressed
them for a wedding announcement.
Finally Gene could stand it no more, and
they met for the last time. Some people
find a release from any personal grief in
work, but after her break-up with Aly,
Gene found no renewed interest in her
career. She became dispirited and anti-
social, building an even higher wall
around her natural reserve. All her pent-
up emotions about Aly — about the tragic
plight of the daughter she loved and
from whom she must be forever parted —
about her younger daughter, Tina, the
too-young victim of a broken home—
these, and so many other problems, kept
spinning around and around in her brain.
At last, unable to face so many problems,
her nerves broke entirely and she re-
treated behind the stone walls of a
sanitarium. But she will soon be com-
pletely well again. She has made the
biggest step on the road to recovery.
She faces reality in the open now. She
can talk about her psychiatric care and
her daughter’s case history, knowing that
in helping herself she is also helping
others. Until your complete recovery,
Gene, this is to let you know we’re all
waiting to welcome you “home” — where-
ever you want to make it.

( Continued on page 97)

“A man,’9 says Yul Brynner, “ makes love with his
eyes." And women by the million are deserting stars
with hair to follow him • BY ARMY ARCHERD

• It is entirely possible that Yul Brynner, singlehandedly, might
put the “You, too, can grow a head of hair like this” advertising men
out of business. For just as Ezio Pinza proved that older men
have their charms, Yul has proved that a lack of hair is no detriment
to romance.

“Some men,” one of his young female admirers was heard to
sigh, “don’t need hair — and he’s one of them.”

Yul’s bosses out at 20th Century -Fox and at Paramount are
inclined to agree with the young lady, most wholeheartedly. Yul’s
first major movie, “The King and I,” was no sooner released
to the general public than the letters started ( Continued on page 109)

Above: Cary Grant, Elvis Presley, Tyrone Power, Robert Taylor and Victor Mature — all are
well thatched, while Charles Boyer has never appeared before the camera without a toupee

The world of Audrey Hepburn is one into which few people gain admittance — We

• At a long table set up on the second floor of the
Eiffel Tower, in Paris, the cast and crew of Para-
mount’s “Funny Face,” headed by Audrey Hepburn
and Fred Astaire, were having lunch.

When Mrs. Stanley Donen, wife of the director,
walked into the room, carrying her baby son in her
arms, Donen rose quickly. “We must get another
chair,’ he said, looking around for one as he relieved

his wife of the child. But it was Audrey Hepburn who
quietly and inconspicuously left her place at the other
end of the table, found a chair, and carried it over
to the director’s wife.

Another day, a little French girl, a member of a
ten-moppet choir group used in one scene of “Funny
Face,’’ burst into tears as the high-powered klieg lights
blinded her unaccustomed eyes. It is doubtful whether

Mel urged her to do a comedy but
Audrey insists he did not influence her
to do “ Funny Face” with Fred Astaire

Many things , including the difference in
their ages, made people predict that
Audrey’s marriage to Mel would fail

THE SMALL, PRIVATE
WORLD OF

AUDREY

HEPBURN

jf - 6iX-

take you into it now • BY MARY W. JONES

she realized that the gentle, kind young lady who dried
her tears and comforted her was a famous interna-
tional actress and the star of the picture.

A movie company on location lives and breathes as
a big family unit, but not always a congenial one.
Every working day produces crises and situations to
test the hardiest spirit. Under these circumstances, it’s
almost an impossibility to ( Continued on page 94)

Audrey’s loves are her work,
her husband and her mother,
to whom she is devoted de-
spite Baroness van Heem-
stra’s early doubt about Mel

The nickname “Pappy” sounds like a term of endearment when Kay says it

• “Well,” the slim, blonde, suntanned woman asked
Barbara Nichols, “what do you think of my old

O ”

man :

“Do you really want me to tell you?” asked
Barbara.

The woman before her stiffened. Her blue eyes
frosted over. “Why, yes,” she said, “of course I do.”

Barbara Nichols grinned at Clark Gable’s wife,
Kay. “It’s a good thing you’re not a jealous woman,
because to tell you the truth, I’m mad about the
man. I think he’s the handsomest, the kindest, the
nicest- — ”

Kay laughingly put up a protesting hand. “All
right, all right. I know the rest of it. As a matter

of fact,” she confided, putting a light, friendly arm
about Barbara’s shoulders, “I’m afraid I have to
agree with you. I feel that way, too. I always have
and I always will. I’ve got it bad — real bad.”

It was easy for Barbara Nichols to understand
why. After two weeks of working with Gable on lo-
cation for “A King and Four Queens,” Barbara had
written home to say that henceforth when she thought
about marriage, Gable was her idea of just what a
husband should be. And, she added, the Gable-
Spreckels marriage was her idea of what a marriage
should be.

“Clark calls Kay ‘Mom’ or ‘Ma,’ and she calls him,
‘My old man’ or ‘Pappy,’ ” f Continued on page 86)

On the screen , Barbara Nichols is Clark Gable’s unkissed date.

In private life , she’s the girl who fell in love with him , but in a way that Kay
understood — and forgave • BY FRANCES KISH

PHOTOPLAY STAR FASHIONS

EKING- wm YOUNG IDEAS

PHOTOGRAPHED AT THE CORO SHOWROOMS, NEW YORK

Fresh fashion, Lee Remick’s cocoon costume, the
yoked jacket with bloused back, in black and
white domino-checked worsted cotton. Itsurroun ds
a scooped sheath in black silk shantung. Sizes
5-15. Junior Accent. Under $50. Charmer hat

Norma Moore's bird-in-hand : a sunny costume in
white and black. Piped cardigan jacket in linen-
look rayon is dotted with licorice buttons. Dress
has a gentle skirt in black cotton plaided with
white. Sizes 5-15. By Mr. Mort. About 145. M M bag

To buy fashions

Birds-of-a-feather outfit: Lee Remick’s linen-
look rayon sheath in red and white pin checks,
with a softening Empire bow. Over it, a navy
coat lined with the check. Sizes 5-15. By Kay
Juniors. About $18. Her Breton straw, Mr. John Jr.
and accessories , see information , stores on page 82 •

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Spring Takes Wing With the Costume Look

Textured straw clochc, deep and elegantly
shaped in spring-fresh white, feminized with a fair
lady rose. John Frederics Charmer. About |15

Shiny black patent pump, neatly carved with
a slender mid-heel, the gilt-rimmed accent a white
leather button dotted with jet. Degas. About $15

Lustrous fresh-water pearl pin, gracefully en-
twined by a network of baguette rhinestones.
Pretty make-believe dazzle. By Coro. $5 plus tax

Slim triangle satchel bag, strong black empha-
sis for your costume look. In glossy patent, gilt
disc for monogramming. By MM. $15 plus tax

Dotted glove, hand-in-hand with the fashion
for one bright accessory keynote. These in white
cotton stopping short at the wrist. Dawnelle. $4

Elegance afoot, a vanilla kid pump going right
to the point with tapered toe, a soaring pencil-
slim heel, bronze-bead bow. Trim Tred. About $10

Right, fashion takes flight in Lee’s matador cos-
tume. White linen shirt (complete with red tie)
buttons onto a high-rise checked skirt. Jacket
scoops to a snug midriff. Sheer worsted wool.
8-16. Donle Originals. Under $40. Charmer sailor

Fine feather accessories paying
your costume the prettiest compliments

u v .

CACED ACCESSORIES

Bird-in-hand gloves that could be your bright-
est accessory accent. Double-woven nylon, printed
with a flock of tiny red lovebirds. Dawnelle. $3

Saucy Breton roller in shiny straw, a pretty
shape with lilting brim, encircled with bright
coral velvet bows. By Mr. John Jr. About 117

Shoe newly shaped in French plush coffee
suede, the winged vamp corded in black faille,
on a little carved heel. Sandler of Boston. $13

YOUNG IDEAS:

PHOTOPLAY

STAR

FASHIONS

Spring Takes Wing With the Costume Look continued

Far Lejl :

Black sheer worsted wool shapes Lee Remiek's
costume, the sheath spiced with a red and white
dotted silk bodice. Plunging jacket is snugged
to a single button closing. Sizes 5-15. Jerry
Greenwald. About $45. Bird perch: Coronet bag

Left :

Bird's eye view of the cape, 1957s newest
fashion. Lee’s, brief, pretty and coin-buttoned in
brass, covers a matching fitted jacket, shaft
skirt. Navy or black rayon faille. Sizes 8-16.
By Donle Originals. Under $30. Hat, Mr. John Jr.

Right:

Norma Moore’s well-put-together look: a Glen
plaid sleeveless dress belling from unpressed
pleats, with finely tucked jabot to fluff out-
side a tapered jacket in black linen-look rayon.
Sizes 5-15. By Mr. Mort. About $45. Charmer hat

PHOTOGRAPHS BY BERT AND STAN ROCKFIELD

CAGED ACCESSORIES

To spark a tailored sleeve, short cotton glove
in pale wheat with an extravagantly-sized but-
ton set high on its own tab. By Dawnelle. $3.50

Draped reticule bag in lustrous calf, to keep
company with any costume. Handsomely shaped,
■practical!;, sized. By Coronet. $15 plus tax

Casual pump in creamy beige textured leather
boasting a stacked heel, giant wood button set
with bejeweled gilt wishbone. Degas. About $15

NORMA MOORE STARS IN "FEAH STRIKES OUT," PARAMOUNT

To buy fashions and accessories, see in-
formation and stores listed on page a 2

YOUNG IDEAS:

BEAUTY

“Let’s face

it,” says Gordon Bau, head of
Warner Brothers’ make-up department, “there
are few women with perfect faces. But, more often than not, the
illusion of perfection can be created by corrective make-up. In my 25
years of experience as make-up artist for Hollywood movie stars, many tricks
have been discovered to conceal slight feature flaws that might appear to be enormous
imperfections, seen in wide-screen color close-ups.” In Gordon’s opinion, the same
tricks should be used by the average girl to bring out her best features and
disguise those less than perfect. “Light and shadow are what
create the illusion,” says Gordon, who is presi-
dent of the Society of Make-Up Artists. “Pale col-
ors, which reflect light, pull out hollow places to
make them look even with the rest of the face,”
he explains. “Dark colors, by absorbing light, sub-
due a too-prominent area.” The highlighting and
shading are done with three shades of make-up
foundation: 1) an all-over shade in the color most
flattering to the complexion; 2) a color three
shades lighter; 3) another, three shades darker.

Because cake make-up doesn’t blend readily at
edges, Gordon advises liquid or cream foundation
for corrective use. For best results, he suggests
choosing all three shades in the same brand. Apply
foundation sparingly, all-over shade first, then cor-
rective colors. So that no one will be the wiser,
blend colors together at edges and finish with a
dusting of your usual shade of face powder.

To set make-up and give a natural sheen,
pat with a natural sponge, wrung out in
ice-cold water. “About lips and eyes,”

Gordon adds, “they can always be made
beautiful with make-up.” Sketches and
instructions on these and the following
pages are to help you prove him right.

A leading

the JAW and CHIN

Hollywood

Face

Facts

'‘For Natalie Wood,
eye make-up is only
a matter of gilding
the lily,” says Gordon
Bau. Natalie's great
big, beautiful eyes
are currently adding
sparkle to “The Girl
He Left Behind”

7i ake-up artist shows how any girl can correct feature flaws with movie make-up tricks

For the girl whose forehead is too high,
arched eyebrows will shorten the
distance between eyes and hairline, make
the entire face appear less large and long.
No fancy shaping, please, or hard, skinny
pencil lines. Tweeze underneath, only
enough to raise brows a little higher
above eyes. Heighten curve on top with
eyebrow pencil'. To make a too-wide forehead
seem narrower, arch brows without raising.

To give a low or narrow forehead a wider
look, keep eyebrows fairly straight (left).

In most cases, the natural arch is most
I') becoming: Tweeze only stray hairs across
bridge of nose, widening space, if necessary,
so that brows start just above inner

corners of the eyes. And clean out
stragglers above or below the natural
curve. Fill in any scanty spots with eyebrow
pencil, using short, hairlike strokes.

To make a long nose appear shorter,

■ apply make-up foundation three shades

£§. darker than yoiir usual color under tip
f/J of nose and under the nostrils. Blend

the two colors together carefully at
edges, to make the line of demarcation
invisible. No high arched eyebrows
for you. The higher your brows start,

above the inner corners of your eyes,
the longer your nose will appear.

\> ‘v-\

To give a more slender appearance

to a large or wide nose, apply the darker
{ foundation along the sides, from inner

corner of eyes straight down over nostrils
(left). Or, (not shown) you may use same
shade on nose as on rest of face,
but apply foundation three shades lighter
to cheeks alongside of nose. When
applying lipstick, be sure to fill in
mouth completely, all the way to corners.

If your problem is a double chin, apply
dark shade of foundation in a triangle,
starting under your chin and extending
outward and downward to middle of throat
(left). To make a small chin appear more
prominent (not shown), apply light foundation
in a triangle with point just below your
bottom lip and base extending along
jawline from tip of chin halfway
to ears. Blend edges carefully.

DRAWINCS BY FLORENCE KEVESON

To soften a stubborn jaw, apply dark
foundation in two small triangles where
y. bones are most prominent (left). If

^ jawline is fleshy, as well as squarely
MM shaped, apply dark foundation along entire
N jaw. Usual shade should be applied

first over entire face, corrective color
tapped on over it with cushion of
finger. Blend well at edges to erase
line between the two shades of make-up.

By Harriet Segman

CONTINUED

YOUNG IDEAS:

BEAUTY

In drawing a prettier mouth, the trick is
to keep your artwork so natural that no one is
the wiser. To erase natural lipline, cover
mouth well, first, with make-up foundation
and face powder. Before even picking up your
lipstick brush, hold a pencil alongside your nose.
Fullness should be added only within that
area, following the natural lipline out to corners.

To add solt curves to a too thin mouth
make points of cupid’s how higher and closer
together and draw center of bottom lip just outside
the natural curve. Only a hairline’s difference
will change the contour without looking fake.
If your natural lipline has a pronounced ridge,
make it less apparent by using a darker shade
of lipstick to outline. Fill in with your usual color.

If nature was overly generous, don't try
to paint a smaller mouth inside your
natural lipline. You'd never get away with
it without detection. Instead, give your lips
a more delicate shape by spreading points
of cupid’s how more widely apart and
drawing center of bottom lip straight across.
Use a lipstick brush, always, for a clean outline.

The mouth that is too wide from corner to
corner can he brought into better proportion with
the rest of the face by raising the center of
the upper lip and dropping center of lower lip.
Same goes for balancing a long upper lip or long
chin: Build up either lip, as described, to shorten
the distance between mouth and nose or mouth and
chin. In any case, just a hairline change, please.

Hollywood

Face

Facts Continued.

Deep-set eyes appear smaller than they really are.
To bring them forward, lighten lids with make-up
foundation and apply eye shadow only under
brows. For a really wide-eyed look, draw a fine line
above upper lashes with eyebrow pencil or eye
liner. Start at center of lid and extend line about
V4 inch beyond outer corner, finishing with a
slight upswing. Apply mascara to upper lashes only.

Protruding eyes become less prominent when eye
shadow is applied to lids, only, and not blended
under brows. For corrective use, choose a shade
to match natural shadows in the inner corners of
your eyes. If lids are heavy, a fine line drawn above
upper lashes from inner to outer corners will
eliminate roundness. All eyes should have up-
swept lashes, courtesy of nature or an eyelash curler.

To widen space between close-set eyes: Blend sha-
dow from center of lid to outer corner. Draw line
along upper lashes from center to ]/4 inch beyond
corner. Concentrate mascara on outer half of
lashes. To make lashes look as long as they really
are and twice as thick, powder lightly before
mascara. For girls who wear glasses, all make-up
is the same — only more so. Apply a little heavier.

A dazzling blonde, whom you’ll see in
" Shoot-Out at Medicine Bend,” Dani Crayne
gets lip service from Gordon Bau, head of Warner
Brothers’ make-up department. '‘We can’t
improve on Dani’s mouth.” says Gordon.

The full curve of her lips balances perfectly
with her other features. We need
only follow the natural outline”

cues and lip tips can make any girl’s most expressive features appear to be beautiful

Why break dates when your face breaks out?

ANTI-BLEMISH

SET

Hide broken-out skin instantly ivitli Tussy
Medicare. ..it helps heal as it conceals! No
single cream, salve, or lotion can even begin
to cover up (and help clear up) problem skin
like Tussy Medicare.

Hide and heal this easy way! First, super-
cleanse with Tussy Creamy Masque. It delves
deeper than soap ; floats out irritating grime.
Next use the skin-colored Tussy Medicated

Lotion as your make-up base. While it con-
ceals — it helps heal blemishes, because it
contains germ-fighting hexachlorophene !
Complete Medicare Set, $2.00. No tax.

For handy touch-ups— Tussy Medicare Stick!
To look “spotless” all day long, always carry
a skin-colored Tussy Medicare Stick. And use
it faithfully every two hours to guard your
skin from infection. $1. No tax.

ON CANADIAN COUNTERS TOO.

TUSSY Medicare

what’s

spinning?

Spinning disks for the birdie, new star Nita
Talbot wears a black sbeatb in linen-look
rayon, its own sleeveless coat in plaid.

Kay Juniors. About $18. Her phonograph, a
handsome high-fidelity portable, plays four speeds,
has three-speaker system, sensational tone control.

Red and ivory case. By Columbia. About $119.95.

For where to buy these items, see page 82

YOUNG IDEAS:

RECORDS

BY CHRIS DAGGETT

So many of you have been writing
in for information on the newest rock
V roll artists, that we are devoting
this month’s column to them.

A year ago, Gene Vincent was just
“that Vincent boy — the one who sings
and plays a guitar,” in Norfolk, Vir-
ginia. Country Show Time, featured on
Station WMCS, introduced Gene to
radio audiences. Competing against 200
other contestants on this show. Gene
was proclaimed “the one” by unanimous
choice of the judges. Next, Capitol
records claimed him for their own. and
we had “Be-Bop-a-Lula.” Now we have
Gene singing “Blue Jean Baby Doll.”
Currently, Gene uses a combination of
singing styles, and this could be only
the first of a variety of styles he will
mix together before producing a final
and distinctive Vincent voice.

Fats Domino is the rock ’n’ roll re-
cording artist who is continually break-
ing his own records. Fats hails from
New Orleans, and while still in his
teens was known throughout Louisiana,
Texas, and Arkansas as an entertain-
ing favorite. As you know, one expert
tells another, and the distributor of
Imperial records told his boss about
Fats. They came, they listened and
made records. “All by Myself,” “Poor
Me,” “I’m in Love Again” and “Blue-
berry Hill” are now standard hit
records for the personable Fats.

Frankie Lymon, top tenor of The

Teenagers and composer of a couple
of hit tunes, is only fourteen years old.
Frankie started by writing poems in
school, one of which was “Why Do
Fools Fall in Love?” — and you know
what a hit that was. Currently, on the
Gee label, Frankie and The Teenagers
sing out their “Baby, Baby” and “I’m
Not a Juvenile Delinquent.”

While still in her teens, Lavern
Baker was singing at the Club DeLisa
in Chicago. Fletcher Henderson heard
her and got her a date to record his
“I’m in a Crying Mood.” After more
club dates Lavern toured with Todd
Rhodes and his band. Now she is going
great guns with her Atlantic disk,
“Tra-La-La,” from Alan Freed’s new
movie, “Rock. Rock, Rock.”

Ivory Joe Hunter has been in music
since he was fourteen, when he was
singing spirituals in a Port Arthur,
Texas, church. Later, Joe learned to
play the piano, then joined several
jazz groups. He has been leading bands
for twenty years. In 1944, Ivory Joe
began making records. His “I Almost
Lost My Mind” and “I Need You So”
each sold over a million copies. Cur-
rently, on the Atlantic label, he sings
“Since You Left Me, Baby.”

Move over, groover, and make room
for Elvis Presley. Actually, he’s al-
ready in and, as King of rock ’n’ roll,
lie’s got ten million loyal fans with him
all the way. “Heartbreak Hotel,” “Blue

Suede Shoes,” “I Want You, I Need
You.” “Love Me” and “Love Me
Tender” are the songs his fans love to
hear him sing. And his new album,
“Elvis,” on RCA Victor, is real hot —
full of nothin’ but Elvis.

For your collection:

1. ABC-Paramount’s brightest new star
is George Hamilton IV, with “A Rose
and a Baby Ruth.”

2. A new one on the Roost label :

Eddie Cooley and The Dimples sing
“Priscilla.”

3. Mac Curtis belts out “You Ain't
Treatin' Me Right” on King records.

4. The Three Friends on the Lido label
present one of the greatest-selling
r ‘n’ r’s to come along: “Blanche.”

5. Fourteen-year-old Barbara Gaye
shows her stuff with “My Boy, Lolli-
pop” (Gee).

6. Shirley and Lee do it again! Fol-
lowing their last hit, “Baby Come
Home,” they sing “I Feel So Good,” on
the Aladdin Label.

7. A great number by The Moonglows:
“See-Saw,” on the Chess label.

8. For Columbia, Guy Mitchell is “Sing-
ing the Blues.” This one’s a real bash.

9. The Big Beat is really carried out
by Bill Doggett doing “Honky-Tonk”
(King).

10. Last but not least, Elvis Presley P
singing “Love Me Tender.” A great
number, for RCA Victor.

YOUNG IDEAS:

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All She Wants to Be

( Continued from page 51)
was crystal clear, the determination awe-
some. In fact, it was inflexible: Today
she drives a pink Jaguar, lives in a glass
house, dresses like a model who never
had time to change to something simple,
and may well be in hock up to her ears
as a consequence. The trips she had — and
has — planned wait only on the completion
of her picture. Miss Mansfield is, at last,
a movie star.

But there also existed in Jayne Mans-
field a geographical confusion. Stardom to
her meant Hollywood and only Holly-
wood, and to be torn away from it for
any reason was unthinkable. Hours spent
in such nearby outposts as Compton, Cali-
fornia, where she lived as a yearning bit
player, gave her a sense of time and
opportunity fleeing; and certainly it never
occurred to her that the straight line
from Schwab’s drugstore to a film con-
tract ran through Times Square.

Therefore, it was with a mixture of
foreboding and indifference that she
agreed to audition for a sexy comedy
part in a projected Broadway play by
George Axelrod called “Will Success Spoil
Rock Hunter?” — the play was, nastily
enough, a spoof on fan magazines and
their writers. Her indifference was due
to the fact she was sure she wouldn’t
get the role, her foreboding to the wild
suspicion that she might.

History, of course, knows the answer.
She did. Her agent called her, jubilant
with the news. His client placed a hand
against the wall to keep from fainting
from pure chagrin. “You can’t mean it,”
were her grief-stricken words.

“I can remember my feelings so well,”
Miss Mansfield has recalled. “New York!
It was like going to — oh, to Yankton,
South Dakota, or lower Tibet. It was as
far from Hollywood as I could imagine.
Besides, I didn’t want to set Broadway
afire, or whatever they call it. I wanted
to be a movie star. When the agent said
this could be the wedge, I didn’t believe
him. Can you imagine, it was the second
lowest moment of my life!”

And what was the lowest?

“Well, that’s part of it. Maybe if the
lowest hadn’t happened, I wouldn’t have
gone, no matter how much my agent
urged me. But I’d been let out by Warner
Brothers. That was the lowest. I wanted
to die. Not in any active, suicidal sense,
but just in the way you want to stop
living when everything is gone, every
hope. You have to understand. I want to
be only one thing — a movie star — and if
I couldn’t be that, I didn’t want anything.

“Then a friend came over to the apart-
ment, the man I was dating then, and he
brought me presents and cheered me up
and convinced me this wasn’t the end
of the world, even though I knew it was.
So that made it both the worst night
of everything and just a kind of turning
point. If I had been alone, I might have
quit entirely inside. But he was there
and I’ll always love him for it. Just being
there. There are moments when a person
should not have to be alone, and that
was one of them.”

In point of fact, Jayne’s screen career
at that moment was not prepossessing. She
had appeared for Warners in three pic-
tures: “Illegal,” “Pete Kelly’s Blues” and
“a dreadful thing called ‘Female Jungle’ .”
The quote is Miss Mansfield’s. And that
last is in for a frantic session of re-
releases, now that Miss M. is on the
verge of becoming a household name.

After her release from Warners, Jayne
made an independent with Dan Duryea

Is a Movie Star

YOUNG IDEAS:

titled “The Burglar.” After that, “Rock
Hunter” came into her life.

Actually, there was no formidable
reason for Miss Mansfield to dread “Rock
Hunter.” In the first place, she had had
some stage experience in high school and
college (where one more semester will
get her her degree) . She had also worked
out with little theatres in Dallas. And
finally, she is a young woman of great
poise and assurance and belief in her
abilities, not at all the dumb if imposing
blonde of her professional characteriza-
tion. Nor did she dread it as a dramatic
assignment. What troubled her was simply
the sense of isolation from her beloved
Hollywood.

But neither did she expect what hap-
pened: the brilliant success of the play
and New York’s amused, uproarious em-
brace of Jayne Mansfield, of whom it had
never heard until then. It happens once
every Broadway season, once in a while
twice. This time it was Jayne Mansfield.

But how had it happened? Surely not
by public acclamation alone?

“Oh, no,” said Jayne, who is a forth-
right girl. “There has to be something
else. Well, it all began with the press.
Especially the columnists. They were all
so wonderful. Then I — well, I did quite a
lot of promotion myself. It seemed I
was always promoting. Snipping ribbons,
shoveling the first dirtful for a building
foundation — oh, anything, I guess. You
might call me ambitious. Not ruthless. I’d
never hurt anybody else. But ambitious.
I could see then how the play was going
to help me be a movie star, and that made
everything all right. I was seen in the
right night clubs, the Stork and 21 and
El Morocco. That was part of it. You see,
I’m .speaking frankly. This isn’t the usual
way they talk, is it?”

No, not exactly. But would Miss Mans-
field venture to go even a little further
and explain the welter of daring still
pictures of her that suddenly inundated
the market?

She laughed delightedly. “Aren’t you
cute? Well, that was part of it, too. There
was more than one market to sell to. The
middle-aged women, for instance — you
know, they liked me! That would be one
kind of Jayne Mansfield. Then for teen-
agers, another. And for the men, what
you just said — the cheesecake.”

In New York, when Jayne was not
promoting herself vigorously or distract-
ing theatre-goers, she was wandering in
Central Park with her daughter Jayne
Marie, now six, or haunting her beloved
motion picture theatres. The dream with-
in her was as strong as ever.

There were few suggestions of romance,
except for inconclusive newspaper ac-
counts involving Mickey Hargitay, a pro-
fessional strongman then employed in the
night-club nip-ups of Mae West. Jayne,
who on October 23 won an interlocutory
decree of divorce from Paul Mansfield,
whom she had married in Fort Worth on
January 28, 1950, usually declines to
comment on Hargitay, explaining only
that his presence on the same plane with
her when she arrived back in Hollywood
was “a coincidence.”

“Will Success Spoil Rock Hunter?”
threatened to run forever, but Miss Mans-
field finally was pried loose from her
contract and landed back at Los Angeles’
International Airport in triumph, no longer
the obscure blonde who had left via the
same runway. The press reception was
clamorous, Fox spokesmen were defer-
ential, and Jayne herself, never seeking
to be inconspicuous, had on hand a large
share of her extensive menagerie, which

NEEDLE NEWS

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cinches waist, opens flat for easy iron-
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(10,12); medium (14,16); large (18,
20). Tissue pattern, transfer. State size.

7311 — One-a-day motifs are easy to em-
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display. Transfer of seven motifs — one
for each day. Each is about 5x7 inches.

589 — Lovely, lacy pineapple design
forms this unusual “butterfly” set to
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818 — “Now I Lay Me Down to Sleep”
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Diagrams and embroidery transfers.

873 — Iron motifs in combination of
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Child’s sizes 2, 4, 6, 8, 10. State size.

Send twenty-five cents (in coin) for each pattern to: Photoplay, Needlecraft Service,
P.O. Box 123, Old Chelsea Station, New York 11, New York. Add five cents for each
pattern for first-class mailing. Send extra twenty-five cents for Needlecraft Catalog.

WHERE TO BUY
PHOTOPLAY
STAR FASHIONS

To buy fashions shown on pages 70-73 and 79,
write stores listed below, mentioning Photo-
play. Or write manufacturers for store nearest
you, enclosing a clipping of the item you wish.

Dottle matador costume, cape costume

Atlanta, CA. — Rich's, Inc.

Denver. COLO. — Gano-Downs
or write Donle Originals,

1400 Broadway, New York 18, N. Y.

Junior Accent costume

BIRMINGHAM. ALA. — Blach’s
W rite Junior Accent, Inc.,

1400 Broadway, New York 18, N. Y.

Mr. Mort white jacket costume

BALTIMORE, MD. — Hochschill), Kollll
Indianapolis, ind. — fm. H. Block
pittsburch. pa. — Kaufmann's
san antonio, tex. — Frost Bros.

ST. LOUIS, MO. — Scnijigs Vandervoort Barney
SYRACUSE, N. Y. — Addis Co.
or write Mr. Mori. Inc.,

498 Seventh Ave., New York 18, N. Y.

Kay Junior coat costume

new York, n. Y. — Stern Bros,
or write Kay Juniors, Inc.,

1400 Broadivay, New York 18, N. Y.

Jerry Greenwald costume
INDIANAPOLIS, ind. — Wm. H. Block Co.

Write Jerry Greenwald, Inc.,

498 Seventh Ave., New York 18, N. Y.

Mr. Mort Glen plaid costume

ATLANTA, CA. — J. P. Allen
BALTIMORE, md. — Hochschild, Kolin
Indianapolis, ind. — Wm. H. Block
PITTSBURGH, pa. — Kaufmann’s
san antonio, tex. — Frost Bros,
or write Mr. Mort, Inc.,

498 Seventh Ave., /Veto York 18, N. Y.

John Frederics charmer

new York, N. Y. — Arnold Constable
Pittsburgh, pa. — Gimbels
or write John Frederics, Inc.

6 JFesr 57 th St., New York 19, N. Y.

Degas patent pump

NEW YORK, N. Y. — Saks Fifth Avenue
W rite Degas Shoe Co.,

47 If est 34th St., New York 1, N. Y.

Coro pearl pin

W rite Coro, Inc., 47 West 34th St., N.Y. 1, N.Y.

MM patent satchel

Atlanta, GA. — Regenstein Peachtree
Chicago, ILL. — Chas. A. Stevens
new YORK, N. Y. — Lord & Taylor
Philadelphia, pa. — John Wanamaker
or write MM Handbags, 1 East
33rd St., New York 16, N. Y.

Datvnelle gloves

W rite Dawnelle, Inc., 16 East
34th St., New York 16, N. Y.

Trim Tred kid pump

At leading stores cross-country

Mr. John Jr. hat

Philadelphia, pa. — John Wanamaker
or write Mr. John Jr. Hats,

53 East 57th St.. New York 19, N. Y.

Sandler of Boston shoe

DENVER, COLO. — May Co.

PHILADELPHIA, pa. — Gimbels
or write Sandler of Boston, 47 West
34th St., New York 1, N. Y .

Coronet handbag

Write Coronet Handbags, 6 East
32nd St., Now York 16, N. Y.

Degas beige leather pump

Write Degas Shoe Co.,

47 W'est 34th St., /Veto York 1, N. V.

Kay Junior plaid coat costume

new YORK. N. Y. Stern Bros,
p or torite Kay Juniors, Inc.,

1400 Broadway, New York 18, N. Y.

Columbia phonograph

At leading stores and phonograph dealers

includes a Great Dane, a Scottie, two
Chihuahuas, a toy poodle, three cats and
a rabbit. Only the rabbit couldn’t make
it. Jayne was carefully dressed for the
occasion, causing television viewers of the
arrival to leap from their chairs in
amazement. Mr. Hargitay remained more
or less in the background.

Jayne went right to work, this time
co-starring with Tom Ewell and Edmond
O’Brien. For her, the Hollywood air was
sweet with jasmine and the heady scent
of ultimate victory.

“I’ve had three wonderful breaks,” she
recounted the other day over a lunch of
fresh orange juice with just a little lemon
added. “The first was being born. The
second was that ‘Underwater!’ junket. The
third was ‘Rock Hunter’. You remember
the junket, of course?”

Her listener did. The “Underwater!”
junket took place in January of 1955. It
consisted of a flight of four planes —
two from New York, two from Hollywood
— to Silver Springs, Florida, on behalf of
the world premiere of the picture “Under-
water!” starring Jane Russell and Richard
Egan. A handful of starlets went along
to help sell the picture. So did Debbie
Reynolds, as well as stars Russell and
Egan. Miss Mansfield not only was there,
she stole the proceedings.

This Jayne did solely by means of her
personal activities plus one prop — a bright
red bathing suit apparently a size or two
too small for her. The photographers
shot until their trigger fingers were numb.
The starlets stood around and sniffed.
But the art that ensued had national
impact. It was serviced to every news-
paper and many magazines — and promptly
snapped up by a great number of them.
After that few people knew who Jayne
Mansfield was, perhaps, but everybody
knew what she looked like.

As a matter of fact, nobody in the
“Underwater!” party knew exactly what
Jayne was doing there. She wasn’t in the
picture, and she didn’t even work for
RKO, which made it.

During much of the flight back to
Hollywood, this writer sat beside her. He
was impressed at first only as any male
would be with so much spectacular
femininity. But later there became ap-
parent the sense of urgency that filled
her, the almost pathetic ambition — except
that it was more than ambition. It was a
dedicated drive. If she wasn’t going to do
it one way, she was going to do it an-
other— within decent reason. Although
fatherly advice of the Why-don’t-you-go-
back-to- Dallas sort is customary in these
circumstances, the writer said nothing. It
was too good a guess that she was going
to do it. Later, young and adjustable, she
slept like a child in her seat while the
rest of the party wore themselves out
doing nothing.

“And you see I was right,” she said
now, sipping at the orange juice with a
little lemon. “I’d worked and studied and
nothing happened. So I went to Silver
Springs and put on a red bathing suit,
which anyone can do, and lots happened.”

They surely did. Agents and studios
grew interested, but while they were
yakking about it, Warners stepped in. But
then, as recounted, stepped out again.
And by and by, “Rock Hunter” took over.

Yet Paramount could have had her
first. That, by Jayne’s personal account,
is not only true but a somewhat bizarre
story.

She turned up in Hollywood in Septem-
ber, 1954, without much behind her but
the title of Miss Photoflash of 1952, three
years of education at various colleges
(Southern Methodist, University of Texas
and UCLA), and the burning urge for

stardom. She had a baby and a husband
and a smattering of invincible gall.

“I called Paramount right away,” she
remembers now, “and asked if they had
any opening for a movie star. They said
they already had a movie star. But they
were so — well, I guess staggered — by the
approach that they did ask me over for
a test. They really did. And I took one.
Nothing came of it — I didn’t look a bit
like Jayne Mansfield then, just a mousy
girl. But later on a man who saw me in
person said he’d give me another test
any time. I must have shrugged or some-
thing. How should I know he was Samuel
Goldwyn?”

Nor did she look especially like Jayne
Mansfield, the Jayne Mansfield of “Rock
Hunter,” on a Fox stage a few weeks ago.
Her features had refined, her waist was
willowy and she was quite well battened
down in front. But the change was for
the better. So was the acting, compared
with what had been in the Warners and
independent days. She played a scene
with co-star Ewell that demanded wist-
fulness, loneliness, plus a naive and
touching lack of knowledge of what
physical assets could mean. It was a
long scene and intricate. It was hand-
somely done.

When it was over a Fox spokesman
said: “She’s going to make it. She has
right now what she finally came around
to wanting — to act and to be an actress,
both. Of course, she’d better make it.
She’s a gambler, you know. That silver
mink coat of hers cost $20,000. The home
in Beverly Hills isn’t for nothing. Her
wardrobe’s by Oleg Cassini. You think
she has that kind of money? She runs
herself in debt because she’s sure it’ll
pay off. The studio has her down for
$75,000 this year and naturally that ain’t
hay. But you can always drop an option.

“But she’s going to make it because
she’s young and because she wants it so
badly. Maybe it won’t always be that
way. Betty Grable got older and really
stopped wanting it. She’d had it all.
Marilyn Monroe — well, who knows Mari-
lyn? But this one, I’ll bet my shirt on her.”

“This one,” about whom there is pre-
cious little more to say, was born Jayne
Palmer in Byrn Mawr on a certain April
19, twenty-three years ago. Her father,
Herbert Palmer, died when she was a
child, and her mother later married a man
named Harry Peers, a sales manager who
moved the family to Dallas. Jayne was
six then.

In Dallas, she attended University Park
grammar school and Highland Park High.
When she was sixteen and still a high-
school student she married Paul Mans-
field, a classmate. Jayne Marie was born
to them on November 8, 1950.

The Mansfields attended together the
three colleges mentioned, Jayne maintain-
ing a highly respectable “B” average
throughout. She would like to get her
B.A. degree, time permitting. One semester
will do it.

In 1955, the marriage came to grief.
Jayne prefers not to discuss why. She
filed suit in Los Angeles Superior Court
for separate maintenance. Later she
amended this to read divorce. Mansfield
contested both actions, but later withdrew
his objections and Jayne obtained an uh-
contested divorce.

Our heroine is a fair linguist, speaking
Spanish and German. She is something
of an athlete, and a musician of interest-
ing attainments, particularly with the
violin. She is an actress, too. But first,
last and foremost, she’s a movie star.

That’s the way she planned it. The End

DON'T MISS: Jayne Mansfield in 20th Century-
Fox's "The Girl Can't Help It."

Journey Into Light

( Continued from page 57)
the fact that he didn’t belong. He was out
of step with everything. He had most of
the things he had once dreamed of having,
but none of them was bringing him that
feeling of belonging which is the essence
of happiness. He was rich. He was suc-
cessful in a field in which few reach the
heights he has reached. He had marriage
and fatherhood. But none of it was any
good. He was alone, cut-off, afraid with-
out knowing what it was that he feared.

Audie Murphy had known fear before,
but not this kind of fear. That other fear,
the kind that comes to men in battle, had
not left him immobilized. He had been
able to function, to make decisions, to do
something. This kind of fear left him
restless, bored, unable to get along with
people. There were the nightmares that
brought him to sudden, instant wakeful-
ness and made further sleep impossible.
There were the moods of depression that
would send- him rushing out of his pleas-
ant home, away from quiet, gentle Pam,
his second wife, and their two fine sons.

Because Aucie is an exceptionally hon-
est human being, he was honest with
himself. He knew that he was letting
these moods master him. If he didn’t find
some way to bring them under control,
they would soon destroy the happiness he
had worked so hard to achieve. Audie has
always been a harsh judge of himself, and
he was a harsh judge now. He made
things even worse by telling himself an-
grily that there was absolutely no excuse
for this kind of behavior.

Actually, there was an excuse. There
were a dozen excuses, behind which a
weaker man would have hidden. To this
day, Audie is in almost constant pain from
the leg wound he received on that incred-
ible day he earned our nation’s highest
honor by holding off, singlehandedly, the
advance of six German tanks and their
crews. Perhaps you remember the repro-
duction of this scene in Audie’s autobio-
graphical movie, “To Hell and Back.” All
those tank crews were shooting at him,
and he was wounded, but he never gave
up until the Germans had retreated.

What Audie didn’t let U-I put in the
film was his suffering from this wound,
plus the pain from the neck wound he
received during the Italian campaign. He
has hip wounds, too, which he received in
southern France. He doesn’t talk about
them, nor the real-life nightmares that
still haunt him— particularly the one of
his closest buddy falling dead upon him
and Audie using that dead body to keep
himself from being killed.

Audie is also plagued by recurrent nose-
bleeds, and a tricky stomach that forces
him to follow the most restricted diet. He
doesn’t drink or smoke, but many of the
foods he once dreamed of being able to
eat someday, when he had the money to
afford them, are, ironically, now forbidden.

Audie’s baby face reveals neither his
physical suffering nor such necessary self-
denial. One of his problems, and one of
the things that made it so difficult for him
to communicate with others, to feel a part
of a group or a family, is his inability to
reveal any real feeling. Spec McClure, one
of Audie’s closest friends, tells about the
one and only time he ever saw Audie give
way completely to emotion. It was a
couple of summers ago, and he and Audie
were back at Holtzwith, where Audie had
held off those six German tanks.

The whole village of about 250 people
had come out to greet Audie. Nobody
spoke any English and Audie doesn’t
speak French, but the children sang, in his

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honor. The smallest ones danced for him,
the prettiest girls kissed him, the older
women threw flowers at his feet. Sud-
denly there were tears in Audie’s eyes,
and he was throwing kisses to the crowd
and crying as he hadn’t cried when his
mother died, or when his father deserted
the whole family, or when his first wife,
Wanda Hendrix, left him.

On the surface, Audie is a quiet man.
Too quiet. Or too flippant, using either
extreme to mask his real feelings. For
instance, when he visited Arlington Na-
tional Cemetery recently, he covered up
the deep emotion he felt, as well as his
own self-consciousness at the realization
that he, too, was one of the nation’s heroes
who would someday lie there with her
honored dead, by saying flippantly, “I
ought to pick out my own grave while
I’m here.”

But then, a year or so ago, a change
began to take place. Audie began to admit
this over-quietness, this over- flippancy, to
himself. Just as, after the war, he had
eternally walked the dark streets of Dal-
las, Texas, searching for he knew not
what, so that winter he discovered that,
despite his love of Pam, his love for his
children, things were getting so dammed
up in him that an explosion seemed in-
evitable. He had to find an outlet for all
these troubled and troubling emotions.
But how? Where?

A different kind of fellow could have
been helped by religion. Audie didn’t have
a religious upbringing. He had to be
helped by thinking it out.

The change in him began one day when,
in the midst of a trivial, fault-finding
argument with Pam, Audie stopped,
walked away, and asked himself, “Why do
I demand so much of people? Who am I
to demand — and expect— perfection?”

Who was he, indeed? It was time to
stand back and examine himself and his
life as though he were a cool, impersonal
stranger, called in to estimate and evaluate
Audie Murphy. He had always been
proud of his early struggles. They had
made him strong, fiercely self-reliant. But
what else had they done to him?

Audie was born the second son of a
Texas sharecropper, another seven chil-
dren being born after him. The year was
1926, which made him seven when the
Depression began, but Audie didn’t have
to wait for any world-wide depression.

The depression was always on for the
Murphys, and after his father walked out
on his mother and her brood, it was only
Audie’s marksman’s eye, an old gun and
a bullet a day that kept them eating. By
the time he was seventeen he was in the
Army, after the Marines and the para-
troopers had turned him down because
he was underweight. Within months, he
was a decorated hero. Within a year he
had put on five inches and twenty-five
pounds, under the novelty of three square
meals a day for the first time in his life.
By nineteen, he was out of the Army and
in Hollywood. Nowhere along the way
had there been any time for fun, for just
plain living. Nowhere had there been
time or the opportunity to learn how to
live, how to enjoy the good things of life
for which he had worked and hungered.
So, when they came, like marriage, they
found him totally unprepared.

Audie’s first wife, Wanda Hendrix, is
now Mrs. Jim Stack, and Audie can hon-
estly say, “I hope Wanda is very happy.”
But the break-up of that marriage, for
which neither he nor Wanda was pre-
pared, was another embittering experi-
ence, because Audie was at that time far
from emotionally mature enough to be
able to blame himself and not others for
what went wrong with his life.

It was all wrong, their union, from the
very day of its beginning. What did an
emotion-starved boy like Audie know
about giving or sharing love? He didn’t.
Wanda tried. She tried valiantly, but she
knew nothing about keeping a house, less
about cooking, nothing about a husband.
The fact that Audie would spend evening
after evening in the little apartment they
had rented, playing penny poker with his
war buddies, was no help.

Within fourteen months, they were di-
vorced. Audie was so hurt and embittered
that he gave away every stick of furniture
and never went near the apartment again.

Again, he had demanded too much, but
he was a long way from being able to see
how little he offered in return.

Pam Archer, the pretty airline hostess,
whom Audie married in 1951, was as dif-
ferent from Wanda as dawn from dinner.
She was, in fact — and she still is — very
much like Audie. She’s a Texan, an
orphan. She’s stubborn, and she’s sweet,
and her one ambition in the world is to
make Audie Murphy happy. Just the
same, she has no intention of being a

martyr about it, or of putting up with
more moods than the winds.

And so, naturally, there were quarrels.
There were even rumors of an impending
divorce. This was during those dark days
when Audie felt the forces within him
slowly mounting, getting out of control,
threatening to destroy everything he loved
and valued. He saw his boys being small
wild men, when he wanted them to be so
polite. But he was afraid to discipline
them for fear of losing their love. There
were the hangers-on who either kowtowed
to him too much because he was a star,
or ignored him because he wasn’t the big-
gest star on the lot. He didn’t know how
to cope with any of it, so he didn’t even
try. He kept to himself more and more.

And then one day, in the midst of this
tormented self-searching and self-seeking,
something happened that was so small, so
trivial, really, that it almost went by un-
noticed. And yet it was to change his life.

Audie was out on location shooting for
“The Guns of Fort Petticoat.” Going down
into the nearby town one evening after
the day’s work was finished, he saw a
man brutally kicking a small shepherd
pup. Audie walked up to him and told
him to stop it. The man turned on Audie
and said sullenly, “Why? He’s my dog,
and if I feel like kicking him, I will.”

Audie said, “How much do you want for
him?”

“I guess about fifty dollars.”

“Fine. You’ve just sold a dog.”

Audie picked up the cringing, quivering
animal and put him into his car. When he
got back to the hotel where the rest of
the location crew was quartered someone
asked him curiously, “With all the dogs
you’ve got at home, Audie, why the devil
did you go and buy another one? And
who’s going to take care of him until you
get him back home?”

Audie grinned sheepishly, and patted
the dog’s head. “Darned if I know,” he
admitted. “I didn’t think of any of those
things. I just saw somebody kicking him
and I moved in and did something about
it.”

I moved in and did something about it.

The words, and the impulsive thought
behind the words, stayed with him. Yes,
he found himself thinking, slowly, won-
deringly, that’s the way it had happened
and that’s the way it has been during the
war, too. That’s why the fear hadn’t im-
mobilized him. Someone had needed him
and he had been able to overcome his own
fear, his own problems, because there
wasn’t time to think about them. That’s
the way it had been in the early days, too,
when he had had the specter of poverty
and hunger to fight — not for himself so
much, but for others. Always, all his life,
there had been something to fight. And
then suddenly, there had been nothing to
fight. All the external battles had been
fought and won — the war, the fight against
poverty, the fight for fame. That’s when
the fight had turned inward, when he’d
begun to fight himself. That’s when he
had begun to feel that he didn’t belong
anywhere, that no one really needed him,
and to set up those impossible standards.
Without something to fight, he was lost.
Because he’d never learned how to love.

And yet, he loved this small, warm, hap-
pily whimpering dog who was snuggled
down in his lap. He had been able to act
quickly, spontaneously, when he saw the
animal’s need of him. Then why wasn’t
he able to act that way with his friends,
his wife, his children? Why did he hold
back, waiting for them to make the first
move? The answer came along with the
question, pinpointing his fear, dragging it
out into the open where he could face it —
and fight it.

Living with the world and its people (above, Kathy Grant, George Marshall) was
Audie Murphy's problem. His greatest victory came when he learned how to do it

Audie was afraid of being hurt. Not
physically hurt. He had enough courage
for ten men, and the years had built de-
fenses around physical hurts. He was
afraid of the kind of hurts he’d known as
a child; the kind he’d suffered when his
first marriage failed. And so he had been
demanding proof that people really liked
him. “I demand too much of people,” he
had said, often. But now, for the first time
in his life, he found himself thinking, “If
I just gave, without thinking about
whether or not people wanted me to give,
if I just moved in on life the way I moved
in on this puppy, not worrying about
whether I’d be liked or thanked or hated
for what I did, I’d at least be doing some-
thing about it, wouldn’t I? I wouldn’t just
be sitting around letting it get me, letting
it run my life for me the way it has been
doing.”

He looked at his new-found friend, at
his new-found life, and he smiled. That
warm, wonderful smile that lights up his
whole face and crinkles the corners of
his eyes. “Well,” he said, speaking aloud,
“we can try it, anyway, can’t we?”

Eric, as Audie named him, is a full-
fledged member of the Murphy family
and, like the dozen pairs of mounted long-
horns in Audie’s garage, Eric is a symbol
of the change in Audie Murphy.

Pam Murphy will tell you that those
longhorns get in the way of four-year-old
Terry Michael Murphy and one-year-old
James Shannon Murphy when they want
to play. They’re also a nuisance and a
hazard when Pam or Audie back their
cars in or out. Nobody, especially Audie,
has any idea of what they might be used
for. But he wasn’t thinking of anything
practical when a fellow he had known in
the Army came by his house in San Fer-
nando Valley. The man wasn’t any par-
ticular friend or buddy of Audie’s. He was
just someone who had been in Audie’s
outfit back in 1943, in Sicily. But Audie
not only bought all twelve pairs of horns,
he sent the man away feeling fine because
he had convinced the fellow that the one
thing he and Pam needed to make their
ranch-type home perfect was twelve pairs
of longhorns!

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On Audie’s personal payroll there is a
fine press agent, a friend he made almost
the first day he stepped into Hollywood.
And on the payroll of Audie’s studio,
there is a fine writer, another pal Audie
has known from his first Hollywood days.
The writer is now working on the sequel
to “To Hell and Back,” and he richly de-
serves the salary he’s earning. But that’s
not the point. The point is that Audie
made it clear — either this writer, or no
sequel. Nowadays, as he will tell you,
he’s much too busy with his wife, his sons,
his home, his quarter-horses, his career
and his friends to have any time left to
worry about himself. He’s still a creature
of moods and always will be, but now the
moods are under control and he’s found
plenty of healthy outlets for them.

One of these outlets is skin diving. In
this dangerous sport, he finds the exhil-
aration and aloneness he sometimes needs.
But the thing that really set him free was
the realization that the only demands we
can be sure of fulfilling are the ones we
make on ourselves. When he began to
demand of himself that he find a place in
the world and that he learn to get along
with others instead of expecting others to
get along with him, Audie found, as mil-
lions of people have found before him,
that, “Love and understanding can win
over anything or anybody.” Eric wagged
his tail in full agreement. The End

YOU'LL LIKE: Audie Murphy in Columbia’s "The
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She Calls Him "Pappy" But She Calls Him "Darling"

( Continued from page 68)

Barbara wrote. “But the way she says it —
or maybe it’s the way she looks at him
when she says it — makes it sound like the
most romantic thing you’ve ever heard. I
don’t mind admitting I’m in love with him
— in a nice, polite, respectful way, of
course. But Kay doesn’t need to be jealous
— I never saw two people more in love.”

Not that Mr. and Mrs. Gable show a lot
of sentiment in public, but you know it
from the way they look at each other, the
way Clark puts his arms around her, the
way Kay touches his cheek. They laugh a
lot together over all kinds of foolish little
things, and you can see them look at each
other knowingly when they’re amused, or
when they are touched by something that
happens.

Kay Williams Spreckels Gable is the
stunning woman Clark married in July,
1955. Even women who don’t ordinarily
like other women admit that she clicks
with them right away. “Maybe,” Barbara
decided, thinking over her own favorable
reaction to Kay, “it’s because she has so
many of his qualities — humor, natural-
ness, interest in people.”

During the shooting of “A King” at St.
George, Utah, Clark and Kay Gable kept
house in a rented cottage, while the rest
of the cast and crew lived in nearby mo-
tels. Barbara and Kay saw quite a lot of
each other and Barbara enjoyed being
around so happy a couple. Everyone who
worked on the picture, and who had a
chance to observe Clark Gable in the role
of husband, came away with the feeling
that he had really met his mate — and his
match — at last. It was obvious that he was
finding in this, his fifth marriage, all the
things which he’d had in his gloriously
happy but tragically short marriage to
Carole Lombard, and had never found
again. Until now.

Clark had married Carole Lombard in
1939, and for three years they were utter-
ly happy together, sharing their love of
hunting, riding, fishing and the calm,
casual life on their sprawling Encino
ranch. In addition to being a beautiful and
talented actress, Carole Lombard was an
extremely witty and charming woman,
always gay, friendly and exuberant. Clark
loved her deeply and passionately, with
all his heart. Tragedy struck in 1942, when
Carole, returning home from a record-
breaking bond-selling tour, was killed in
a plane crash in Nevada. Her death left
Clark a bitter, brokenhearted man, and
no amount of friends, fame or money

could comfort him. For years, he was un-
happy and lonely, a man who found little
solace in the fact that he was King of
Hollywood. While he went through a
series of meaningless romances with such
stars as Virginia Grey, Joan Crawford
and Paulette Goddard, those closest to
him knew he was seeking, but never find-
ing, someone like Carole Lombard.

Then, in 1949, Clark married Sylvia
Ashley, whom he had known casually for
fifteen years. At the time, everyone re-
joiced in the event, saying Clark and
Sylvia were perfect for each other. Clark
seconded the motion by saying, “I’ve
never been happier.”

But, although Sylvia Ashley had much
of the gay charm and exuberance that had
typified Carole Lombard, she did not
share Clark’s love for sports, or for the
quiet, casual life. Within three years, their
marriage came to an end. Clark vowed,
“I shall never marry again.”

By the time another three years had
passed, that promise had flown out the
window. Clark married Kay Spreckels,
whom he had also known casually for
some seventeen years. Since then, the
twinkle in Clark’s eye has been brighter,
his smile broader, his mood gayer. And,
while Kay is mainly responsible for the
change, there are two other important
factors — namely, her children, Adolph
“Bunker” Spreckels III, who is seven, and
Joan Spreckels, who is five. Clark has
always yearned to have children of his
own. While this wish has yet to be
granted, he is deriving a tremendous
pleasure from Kay’s youngsters.

Inevitably, the comparison is made be-
tween Kay and Carole Lombard. Like
Carole, Kay is beautiful, witty, charming,
sophisticated. As did Carole, she calls
Clark “Pappy.” Kay is also a homebody
and a sportswoman — as well as a good
sport, which is of prime importance to
Gable. She willingly goes along with him
on anything, and her deep love for him is
reflected in all her actions, big and small.

For instance, one day when Barbara
Nichols wasn’t needed on the set of “The
King and Four Queens,” Kay showed her
how to do needlepoint, putting tiny,
meticulous stitches into a pair of slippers
for Clark. Barbara, who is twenty-three,
remarked that she didn’t think she would
ever have the patience to do that for any-
one. Lifting her smooth, golden head, Kay
smiled and said, “I’ll admit you have to
love someone an awful lot to have this
much patience. And yet, I’d hate to think
you might go through life without finding

that kind of love. I’m sure you will find it
someday.”

“Sure,” Barbara replied, “but where do
you find another guy like Gable?”

Although Barbara is hardly the outdoor
type, and definitely more at home in
night clubs and plush surroundings, she
said “yes” in a hurry the day the Gables
asked her to go fishing.

“Can you imagine having Clark Gable
put a worm on your hook?” she exclaimed.
“And showing you how to cast a line? I
caught two trout — it was thrilling!”

They went fishing, with permission, on
private property, and after a while the
owners came down to meet them — with
camera in hand. Clark and Kay obligingly
posed for pictures, and Clark even posed
for one with the mother of the family, put-
ting his arm around her as if she were an
old friend. “I don’t think they’ll ever get
over it,” Barbara told the other girls later.

On location, the Gables were good
mixers, but they both maintained a cer-
tain reserve. Kay visited the set only once
— during a night shooting — and never in-
terfered in any way with Clark’s work.
She respects his feeling that wives
shouldn’t be involved with their husband’s
business. They had brought along their
own cook and were living a quiet, domes-
tic life. Kay went to one big barbecue
party, given for the entire company, but
mostly they stayed to themselves or went
hunting and fishing together.

At first, the citizens of St. George were
impressed with Clark Gable, the famous
movie star. Then, after they got to know
him, they were even more impressed, be-
cause he was such a regular guy. Some-
times they went to his house to ask for
autographs, not realizing that he was tired
out and wanted to rest and be alone with
Kay. But Clark was always willing to make
an effort and never turned any away.

One night, in making a scene in which
Clark had to go into the river, the evening
had turned chilly and the water was ter-
ribly icy. He came out with his teeth
chattering and had to be wrapped in blan-
kets. But when a group of youngsters
crowded around him with their autograph
books, he laughed and began signing away.
All the children in the community adored
him and followed him everywhere. Since
Kay’s two children had remained home
in California, Clark and Kay were con-
stantly shopping for little presents to send
back to them.

Clark Gable, among other things, is
known as a practical joker. As such he
had a wonderful time on location, especial-
ly with a prankster pal like director Raoul
Walsh to help out. One day Walsh gave
Barbara some lines to say that weren’t in
the script, and certainly couldn’t be left
in. They caught Clark so by surprise that
he laughed all through the rest of the
take and ruined it. Another time, Clark
provided some additional lines of his own,
which caused Barbara to break up.

Another scene in the picture called for
Clark to dance with each of the four
“queens.” He kept insisting he couldn’t
dance, that he had two left feet. Actually,
Clark is a very good dancer, as he has
proved in many of his other films, but
like a little boy he is self-conscious and
shy about it. The shyness, as well as the
boyishness, came as a surprise to the people
who hadn’t worked with Clark before.

Barbara discovered that while he is
sometimes shy about his own talents, Clark
always strives to give others confidence.
“I had done a great deal of television in
New York,” she said, “and had learned to
appreciate helpful friendliness from most

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fellow actors and directors, but I really
didn’t expect that kind of help from a
star like Mr. Gable. When one particular
scene bothered me, he took me aside and
sat down with me, discussed the scene
and rehearsed all the lines with me. It
was a difficult bit, in which little nuances,
conveyed in only a few words and ges-
tures, were all-important.”

Everyone said he was giving Barbara
all the breaks in their scenes together, and
she could see it. Clark coached her on
where to look, showed her where her key
light was. The crew can spot a phony a
mile off, and their respect for Gable im-
pressed Barbara, confirming her own first
impressions of him.

“How old are you?” he had asked at
their first meeting in the studio office.
“How old do you want me to be?” Barbara
had replied, and everybody laughed, Clark
the hardest of all. “I was off the ice then,”
Barbara said.

She kept thinking, “How sweet he is,”
knowing it was a word he wouldn’t like,
but the only one she could think of to
describe him. She didn’t know then the
kind of part for which she was being con-
sidered or how old she was supposed to
be. She just kept hoping she was the right
age and the right type, because by that
time she wanted that part more than
she had ever wanted anything else.

Clark began to explain the kind of girl
Barbara would play in “The King and
Four Queens.” “He made her so real to
me,” Barbara recalled, “that I began to
feel like that girl. He asked what other
i things I had done. I told him about the role
of the burlesque dancer in ‘Miracle in the
Rain,’ and my bigger and more recent part
in ‘Beyond a Reasonable Doubt,’ with Dana
Andrews and Joan Fontaine. Mr. Gable
listened attentively. Then he asked if I
would mind making a test with him.
Would I mind?”

She never did have to make the test,

! because they looked at the rushes of
“Beyond a Reasonable Doubt” and were
satisfied that she was right for the part of
Birdie. The other “queens” are Eleanor
Parker, who co-stars with Gable as
Sabrina, Sara Shane, who plays Oralie,
and Jean Willes, who plays Ruby.

Barbara and Jean Willes became good
friends, and after they both got to know
Gable better, they kept telling him how
wonderful he was, whereupon he would
just grin and look embarrassed. He never
seemed to take praise for granted.

Barbara never told him how she had
i adored him when she was a schoolgirl, but
she did tell him that she had seen most
of his movies, after which he promised
to show her some he had made with Jean
Harlow, whom he admired tremendously.
Both Clark and his make-up man — who
had also worked with Jean Harlow —
thought Barbara looked a lot like her.

If there was one complaint Barbara felt
it was her right to make, it was the lament
with which she finished “The King and
Four Queens.” “All those love scenes,” she
wailed, “and everybody got to kiss him
' but me.”

More seriously, Barbara added, “To me,
Clark Gable is what a movie star should
be — and so often isn’t. I think any woman
I who meets him even once could never for-
'■ get the meeting.” She would always re-
member the things he had said to her, and
how she felt about him. Not only about
Clark Gable, the actor, but about Clark
I Gable, the man: The man who is a
i woman’s man as much as a man’s man, and
I who has kept two — and now three — gen-
; erations of women sighing with adoration.
The man Kay Gable adoringly calls
“Pappy.” The End

YOU'LL LOVE: Clark Gable in United Artists' "A
King and Four Queens."

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Why Eddie Almost Left Debbie Waiting

( Continued, from page 46)

This is, in fact, a marriage that almost
didn’t happen, and might not have hap-
pened if Debbie hadn’t been wiser and
more cool-headed than most women many
times her age. Because midway through
their long and stormy engagement period,
when a great many people began to
murmur that it looked as though Eddie
had changed his mind and wanted to call
the whole thing off — he had changed his
mind. The reason for changing his mind
and then, three months later, changing it
back again is also the reason why, once
married, theirs was destined to be one of
the happiest and most durable marriages
that ever happened. It is also the best
possible argument for a long engagement.

What really happened? At the time this
tortured indecision was going on in Eddie’s
mind, and before he had mentioned it to
Debbie, he was reading about himself and
the girl he loved almost as though he were
reading about two other people. Two
strangers who happened to be named
Eddie and Debbie, whose romance was
fast becoming one of the greatest circula-
tion-builders in publishing history. They
were being called Romeo and Juliet, their
forthcoming marriage was being hailed as
“An event that will make greater head-
lines than any marriage since Princess
Elizabeth of England wed Prince Philip.”

And then, suddenly, something hap-
pened. Their appearances apart became
more frequent than their appearances to-
gether. Something seemed to be wrong.
One column called it The Big Freeze. An-
other said the rainbow had collapsed under
the weight of the Fisher entourage. A
third went along with that — even quoted
Debbie’s brother on Eddie’s being a puppet
whose manager had mysteriously pulled
the walk-away strings. One blamed reli-
gious differences. Another blamed Debbie’s
mother, while another blamed Eddie’s.
Others laid the rift to career competition.

They were wrong — almost to a man and
to a headline. For instance, they blamed
Eddie’s manager, Milton Blackstone, who
is respected and admired as a man with
one of the highest senses of ethics in
entertainment, and who was not inter-
jecting so much as a word. Milton had
never entered Eddie’s personal life and
he did not now. He maintained so com-
plete and honest a Hands Off policy that
he could have passed for Venus De Milo.

They blamed the future mothers-in-law.
But in Philadelphia, Kate Fisher Stupp
answered every reporter’s phone call with
a polite but firm, “I have heard of no
break-up. I’d suggest that you contact
the children directly.” In Burbank, Mrs.
Reynolds’ voice rang out candidly when-
ever she was queried. “I’m afraid I can’t
help you. Your guess is as good as mine.”

They said Eddie and Debbie were
headline-hunting. But neither Debbie nor
Eddie sought the headlines. “No comment”
is a poor space-grabber, yet they used
the two words as often as possible.

They blamed career competition, but
there has never been any career jealousy
between these two. Only Debbie’s bubbling
pride in Eddie’s singing — and in things
like his never-equalled streak of twenty-
one consecutive hit records. And Eddie’s
consummate pride in her acting and
comedy talents. Example: Recently a re-
porter asked him, during the filming of
“Bundle of Joy,” if he weren’t afraid she’d
steal his scenes. “No,” he grinned. “I
p expect that. I’m not exactly a Paul Muni.
She’s got the picture before we start. She’s
the greatest.”

Religion was no barrier. They reached

— like Jack Benny and Mary Livingstone,
George Burns and Gracie Allen, and many
other successful mixed-marrieds — a mutu-
ally respected point of view. “We see no
problem,” said Debbie. “We both believe in
God.”

The “entourage” — a normal acquisition
for the successful performer — was no
problem. When a man was a bachelor,
naturally both the employees and the
favor-seekers spent leisure hours as well
as work time with him. When he took
unto himself a wife, they just as naturally
would be around less often. And so it was.

Well, then, what did cause the sudden
cooling-off that looked like the prelude to
the parting of the ways?

It all began with a cross-country phone
call. A cross-country phone call was not
unusual in their lives. With Eddie’s TV
commitments in the East and Debbie’s
movie commitments in the West, there
had been plenty of those. And the chances
are that when Debbie crossed the living
room of her parents’ home that evening
to pick up the phone, to hear his familiar
and beloved voice, and to say, “Hello,
darling,” she had nothing more on her
mind than to tell Eddie about a new dress
she’d added to her trousseau.

But this phone call was different. This
time, Eddie’s voice sounded hesitant. It
sounded ragged and uncertain. “Look — ”
he said, “I’ve been thinking it over and — ”

No one knows the exact content of that
phone call and no one ever will. No one
should. But the reason for it is im-
portant because it tells us so much about
the kind of wonderful people Debbie and
Eddie are. The reason sprang at Eddie
out of a headline. All of a sudden, a
headline no more nonsensical or gooey
than a dozen other headlines that had been
written about them. But this particular
one just hit him the wrong way. That
feeling that had been slowly growing in-
side him — the feeling that he was reading
about two people who were total strangers
— gripped him, and panicked him.

“How do I know it’s Debbie I love?”
he began to ask himself. “How does she
know I’m the guy she loves? Maybe we’re
just in love with our own publicity — in
love with the love story of two people
with the same names we have. Maybe we
think it’s right because it seems so right.
But actually, we don’t know each other at
all— do we?”

That was the gist of that panicky phone

call. It is easy to imagine Debbie staring
down at the ring on her finger. It is easy
to imagine that she may have gazed at it
through a sudden misting of tears. If she
did, Eddie didn’t know it. When she spoke,
her voice was firm, even gay. She said
that she understood, that perhaps it would
be better to wait longer than they had
originally planned to wait. She said that
perhaps they should both see other people
for a while — not on dates, of course, but
in groups — his friends, her friends. The

calm, quiet young voice held steadily for
the duration of that phone call. What
happened after that in the privacy of
Debbie’s pretty, feminine bedroom is
Debbie’s story. All the world knew was
that it looked as though Debbie Reynolds
was not to be Eddie Fisher’s bride after
all.

But their love, as everyone knows, sur-
vived one of the crudest tests to which a
love can ever be put — the test of time,
distance and gossip. Debbie held her head
high, kept her own counsel, and waited.
There is no doubt but what the courage
and faith in him which Debbie displayed
during those trying days is one of the
things that not only brought Eddie run-

ning back to her, but makes his love for
her almost worshipful.

That summer, Eddie spent a great deal
of time in Hollywood. And when he re-
turned to New York, he realized some-
thing. There was a Grand Canyon void in
his life. There could be no doubt any
longer. Debbie was the girl to fill that void.

In October, there was another phone
call. And in that same month, a marriage.

Today, Debbie and Eddie are two of
Hollywood’s happiest advertisements for
marriage. They have fun together. In their
bedroom sits a silver-framed first snap-
shot of their baby daughter, Carrie
Frances, a bewildered look on her round,
day-old face. Across the photo, Constance
Bannister style, is the comic caption:
“Who’s Eddie Fisher?”

They are honest with each other. And
even with their insurance company. Re-
cently, when defectively-wired air con-
ditioning caused a $15,000 fire, Eddie’s
clothes were smoke-filled and temporarily
unwearable. A friend advised him to claim
them as a total loss. Legally, he said, this
was perfectly allowable. But Eddie couldn’t
bring himself to do it. Instead he had them
dry cleaned, aired out, and made no
claim at all. Debbie’s wardrobe, on the
other hand, was almost a total loss. She
could have estimated many M-G-M gowns
— given to her as a wedding gift — at
perfectly legitimate sky-high valuations.
They were made of hard-to-replace, ex-
tremely expensive materials. Instead, she
estimated only what a modest replace-
ment would cost her in each case. Busy
nursing Carrie in the approved Spock
manner, Debbie had no time to buy new
clothes. She wore her maternity clothes
for the first month after the birth. “I’d
better be getting to the store quickly,
though,” she said. “People are beginning
to think I’m expecting a second child
already.”

Debbie is an excellent mother. Cook
Olivia, who has worked for dozens of
Hollywood families, thinks she’s the
greatest. “The way she coos to that little
girl while she’s feeding her. The way she
watched her diet during the pregnancy
to be sure the baby would be healthy as
possible — why, she didn’t even have any
ice cream! And it sure is a long time
since I saw anyone take the time and
trouble to nurse her baby — and a long
time since I’ve seen a happier baby.”

Eddie is a devoted father. He can’t pass
a toy shop window without stopping to
make a purchase. Recently he bought a
stuffed furry elephant four feet high.
“Either Eddie’s going to have to slow
down on the toys,” friend Joey Forman
commented, “or they’ll have to move to
a bigger house.” He is a perceptive father,
too. “The baby will have everything,” he
says. “That’s good, but it’s dangerous, too.
We’ll have to be mighty careful that she
learns to share — so she won’t be spoiled.”

They have devoted friends. For their
first anniversary, Eddie bought Debbie an
unusual heart-shaped diamond pendant.
For the baby’s day of birth, Jennie
Grossinger bought a tiny replica of this
from the very same jeweler. And they have
either the world’s smartest baby — or a
most thoughtful friend. On Debbie and
Eddie’s first anniversary, a mysterious
telegram arrived. “Congratulations,” it
said simply but under the circumstances
quite eloquently. It was signed, “Your
Baby.”

They have learned to compromise. Eddie
is not as extravagant as he used to be.
Debbie is not as penny-prudent. The
compromises go all the way down to such

routine matters as the salad they shared
at Chasen’s restaurant on their first night
on the town after Carrie’s birth. Because
of her nursing, Debbie couldn’t have
cucumber in the Caesar Salad they
ordered. Eddie told the waiter to omit
them. But Chasen’s is up to meeting such
problems. The white-coated waiter simply
mixed two separate portions — cucumbers
for Eddie, none for Debbie.

But they disagree on occasion. Fortu-
nately, without being disagreeable. While
house-hunting, they came to one the real
estate man had no key to. “We’ll come
back some other time,” said Eddie. “No —
let’s shinny over the fence,” said ad-
venturous Debbie. Then she had an after-
thought. “Oh, papa,” she smiled, “you’re
right. I keep forgetting. My fence-climb-
ing days are over. I’m a mama now!”

Both Eddie and Debbie still have the first
friends they ever made. A white checked
tablecloth on Debbie’s luncheon table
tells half the story — in each square is a
name you wouldn’t recognize unless you
attended Burbank High. Not one name
belongs to a star, except Debbie’s own.
Two deck chairs out at the swimming
pool tell Eddie’s half of the story. Some
months back, a reporter visited, asked if
there were any truth to the rumors that
he was feuding with his two childhood
friends, Bernie Rich and Joey Forman —
that they were angry at him because they
couldn’t get parts in his pictures. Eddie
explained that there had been a misun-
derstanding. The film’s producer had cast
Tommy Noonan in the only part that bore
any resemblance to Joey — had cast Noonan
before Eddie knew about it. “Come on out
to the pool,” Eddie invited the reporter.
“I’d like you to meet some good friends.”
Sunbathing happily were friends Joey and
Bernie.

Eddie and Debbie Fisher feel they are

two of the world’s luckiest people. And
rightfully so. Not only do they have one
another, and now a third family member,
but they have fans of all ages who do
everything from knitting a blanket “with
love in every stitch” (a 70-year-old fan)
to volunteering for baby-sitting duty (an
entire California club) .

So it is that in a second-floor room in a
white stuccoed Mediterranean home in
Beverly Hills that once belonged to Cary
Grant, a baby cries. Short, almost melodic
wails that cascade out in quick, sharp
splashes of sound.

In an adjoining room off the hallway, two
people stand up quickly. One is chestnut-
haired, petite, pert in a red jersey shirt
and black toreador pants. The other is
trim, lithe and black-haired, in corduroy
pants which are the sand color of his tex-
tured sport shirt.

“Okay, mama, time to feed the baby bird,”
the man says. He follows her down the
hallway. “Can I pick her up first?” he
asks. “Why sure,” she smiles, stretching
the second word so that it unmistakably
means she and the baby will both be dis-
appointed if he doesn’t.

Gingerly, gently, fondly he picks the
tiny pink-clad infant out of the yellow
bassinet. Supporting the neck, he care-
fully rests the soft-haired head on his
left shoulder.

The baby stops its crying. The blue-hued
eyes (not color-fast yet — she’s too young)
range the room quickly. They are alert,
inquisitive, intelligent. They are just be-
ginning to see objects clearly — and they
seem to want to make up for the long
months of darkness. Suddenly, the lids
pucker down. The mouth follows suit. As
though an empty stomach has inevitably
telegraphed a reminder message, suddenly,
the wails begin again.

“Oh-oh,” the man says. “You better
take over. I guess I just don’t have it.” He
hands the baby back to the mother, care-
fully, slowly. She takes her up tenderly,
begins the feeding. The lines around the
baby’s smooth little face relax. She is con-
tent now. But the bright eyes continue to
roam the room — searching for something.

No one can know what Carrie Frances
Fisher’s eyes are searching for. Perhaps
the cuddly stuffed toy zebra that felt so
warm and good against her cheek earlier
today. Perhaps the other nine babies — some
crying, some sleeping, some thumping their
tiny feet against the sides of their bassinets
— with whom she spent four days in the
glass-faced nursery at Burbank’s St.
Joseph’s Hospital. Perhaps for the white
toy poodle, Rock, smaller even than she,
who dances into her room several times a
day — and is firmly shooed out before he
can get a good look at her, or she at him.

But more likely, she is searching for an
understanding of this new world of secu-
rity and love that envelops her with more
warmth and happiness than a score of the
softest, richest blankets.

Carrie has this love already. She senses
it now. And Doctor Charles Levy — a
general practitioner who tended Debbie
from the age of nine and brought Carrie
into the world — could add something more.

Carrie is such a good baby. She sleeps
so well. She gains so quickly. She cries so
little. Indeed, she must have sensed her
parents’ love for her long before she was
born, a deep love, a love she can trust —
and their love for each other, the same
deep love, that grew out of storms and
doubts, from mutual respect and under-
standing, into something very real and
indestructible. The End

DON'T DARE MISS: Debbie Reynolds and Eddie
Fisher in RKO's "Bundle of Joy."

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The Rock Hudson Story

( Continued, from page 45)
and also do plain, but not fancy, ice-
skating. I’d be the perfect wife for you.”

The mother of two girls, ages nine and
thirteen, wrote from Macomb, Illinois, that
she is so in love with Rock Hudson, she is
about to burst. “My husband would kill
me if he knew,” she said. “I am saving
money from my shopping budget to buy
you cufflinks for Christmas.”

And a grandmother in Chattanooga,
Tennessee, writes to Rock every morning
while having her second cup of coffee to
tell him what her children and grand-
children are doing and keep him up to
date with the family.

These women have only one thing in
common: They are Rock Hudson fans.

Most film-star fan mail is unbelievably
boring. The fan is usually struck dumb by
such personal contact with his idol. In
contrast, the eight to ten thousand letters
a month sent to Rock Hudson are unique
because the writer invariably feels the
recipient is a friend.

Unlike Rudolph Valentino, who was the
sex-boat of his day, Rock Hudson is not
the lover type. He has sex appeal, but his
older fans want to mother him. Young
girls want to marry him, and men want
to emulate him.

He seems to appeal to all ages and types.
Moviegoers, asked to analyze Rock from
his screen impression, agreed on many
points, such as: He gives the appearance
of great solidity; he seems well educated
and poised; obviously, he comes from a
wealthy family; his calm good-nature
could come only from a well-ordered life;
if anything, he appears spoiled — probably
had everything easy.

Nothing could be further from the truth.

Rock Hudson’s life has been complicated
and difficult, uncommon only because it
was so common. A detailed study of it
shows him emerging as a stronger, more
complex person than anyone realizes. It
dissipates completely the image of “the
beautiful hunk of man” which has been
built up through years of fan -magazine
stories and “beefcake” poses.

Now, when Rock has finally been given
a chance, in “Giant,” to prove what a com-
petent actor he has become, it is time to
strip away the superficial image of Rock
Hudson and see him as he really is — a
solid, stable, intelligent young man who
has built up an almost uncanny ability to
take life as it comes and make not only
the best but the most of it. By the time
his next two important pictures, “Some-
thing of Value” and “Battle Hymn,” are
released, Rock will have left behind for
good the boy-next-door roles, although in
real life he is closer to being the “boy
next door” than any actor in Hollywood.

The real story of Rock Hudson began at
2 a.m. on the cold, wind-bitten morning of
November 17, 1925, when a long, thin and
small (5V2 pounds, 22 inches long) baby
boy was born to Kay and Roy Scherer of
Winnetka, Illinois.

Kay Scherer, Rock’s mother, was a hand-
some, dark-haired woman with the fun-
loving temperament and good humor of
the Irish as well as an English reverence
for thrift and industry. Even now Rock
closely resembles his mother in his habits,
though not in looks. He has her habit of
closely studying everyone with whom he
talks, and he has inherited from his moth-
er her quiet appearance of emotional
P solidity and stability.

From his German-Swiss father, Rock,
who was tagged Junior at birth and later
christened Roy, inherited tall, dark good

looks and a relaxed and easygoing tem-
perament.

As a child Rock was a shy, almost too-
pretty boy with long, dark curls that
weren’t cut until after his fourth birthday,
at the time his parents were divorced.
Whether or not this had any traumatic ef-
fect on Rock’s personal life or his career is
something for the psychiatrists to give an
opinion on. But it still remains that Rock
was scarred by the divorce, and for years,
he blamed himself for the fact that his fa-
ther, with whom he was very close, de-
serted him and his mother.

“I had to take over then,” his mother
says. “I always took him with me and
tried to be a father as well as a sister and
brother to him.”

Mrs. Scherer got a job as a switchboard
operator and she and Rock moved in with
her parents, who were also sharing their
roof with another daughter, her husband
and their four children.

Making one of his greatest pictures,
“Battle Hymn,” in Korea. Rock scored
his greatest conquest — the children

Even as a toddler Rock began to learn
the meaning of responsibility, and how to
assume it cheerfully. He helped his mother
clean house and cook. Once when she
was ill with a cold, he offered to make
orange juice for her. He disappeared into
the kitchen. When minutes passed and
Rock didn’t reappear, his mother went to
investigate. She found him squeezing
oranges — by the dozen!

“He had every pitcher and pan in the
house filled with juice,” his mother re-
called. “He’d squeezed five dozen and had
only one to go. I’d asked for juice and
he was going to give it to me— by the
barrelful.”

In 1932, when Rock was seven, his mother
married Wallace Fitzgerald, a Marine Corps
officer who adopted Rock and gave him
his legal name of Roy Fitzgerald. But the
marriage was a stormy one, destined to
end in another divorce.

It’s ironic that Rock, who never had a
father of his own to look up to and admire,
is now considered by many of his fans to
be the perfect husband-father type. Rock
refuses to discuss his fathers — he had three
in all, his own father and two stepfathers
— and says simply, “Regardless of what-

ever else happened, I knew my mother
loved me.”

Rock and his mother were poor, but he
never went without food or clothing. He
learned at an early age, however, that he
was the “man of the family” and was
therefore expected to contribute. When he
was twelve, he started doing odd jobs and
worked as a soda jerk, window-washer
and even as a short-order cook. He worked
at anything available after school and on
Saturdays. Sundays were spent caddying
for pay, of course, at the local golf course
and country clubs.

Rock ’s mother, whose name is now Mrs.
Olsen, recalls that she rarely spanked him
as a child. One incident that sticks out in
her mind is the day she told him to walk
next to her and he ran ahead and was
almost hit by a car coming out of a drive-
way. She was too angry and frightened
to do anything other than say he was
very dumb.

“I found that that word hurt him more
than any spanking,” she said. “Rock was
a proud boy, and a good one. He worked
hard and I wanted him to have fun just
as long as he didn’t disgrace his parents.

I always taught him to be well-mannered
and considerate of other people besides
himself, and I think the teaching rubbed
off on him.”

It was when he was twelve that Rock
first decided to become an actor. He and
Jim Matteoni went to see Jon Hall in
“Hurricane.” As Rock sat in the darkened
theatre watching Hall dive into the water
and swim to Dorothy Lamour’s side, he
imagined himself as Hall.

The chances are that thousands of young
boys seeing that picture — or any picture
—imagined themselves as the hero. But
Rock kept his imaginary picture alive in
his mind and, when he thought of his
future as a man, secretly planned to be-
come an actor.

Once he told his mother of his ambition.
She accepted his announcement with a
smile and an encouraging word. Rock had
gone through the policeman, detective and
ship-captain stage, and she imagined he
would get safely through the acting stage,
too.

Thanks to the time spent at his grand-
parents’ home, Rock was never without
playmates, although he was lonely for a
real family life. Most of his close friends
came from families with good relationships,
and there is no doubt that Rock secretly
envied them.

For example, he spent a great deal of
time visiting Jim Matteoni, a stocky young-
ster of Italian descent who is now a music
teacher. The Matteonis gave Rock the fam-
ily feeling he felt lacking in his own home,
and Jim’s family became his.

Jim and Rock went to New Trier High
School, in Winnetka, along with 700 other
North Shore children, most of whom were
from wealthy families and enjoyed every
luxury. Rock recalls himself as a “typical
high school adolescent” and says he was
unaware at the time of feeling very much
“different” from his financially well-to-
do friends.

Dean of boys Frederick Kahler of New
Trier remembers him as a “nice, quiet boy
who never gave anybody cause for con-
cern. He was never in any trouble.” But he
was not an outstanding student. Although
his IQ was high Rock didn’t like to study,
and he was beginning to find out about
girls.

Gigi Peterson, who had a Spanish class
with Rock, remembers him as a “cute boy”
whom she had a crush on. “I was a little

better in Spanish than he was,” said Gigi,
“so I used to let him copy from my papers.
I got As and he got Bs.”

Some of the other girls at school re-
member Rock as good-looking but skinny
and awkward. One of them said he was
“just around. He never asserted himself.”

Rock took a regular non-college cur-
riculum, including three years of various
business courses and a year and a half of
industrial arts. During his freshman year
at New Trier he wanted to be a draftsman,
but by his junior year he decided to be-
come a bookkeeper and accountant, al-
though he still nursed his dream of some-
day being a movie star. However, it was
a dream so farfetched as to seem almost
fantastic, so Rock mentioned it to no one,
except for his mother, while he ground
away at mathematics and double entries.

Nancy Gillogly, who was his steady date
throughout high school, recalls that he
didn’t seem to have any particular ambi-
tion. Like most young boys his age he
was merely “putting in time” until school
was finished and he could go out on his
own. He didn’t consider college because
he never believed he would be able to af-
ford it.

He held outside jobs all through high
school and was unable to participate in
many extra-curricular activities. He played
baseball occasionally and swam in inter-
class competitions, winning some medals
he is still proud of.

For a while during his senior year, Rock
worked for an awning company. At the
same time Jim Matteoni and another friend
were working for a laundry doing home
deliveries. The three boys decided to pool
their work, the other two helping Rock
with his tasks and he in turn helping them
with their job. This happy arrangement
was shortlived. Rock was fired from the
awning job after he forgot to label some

awnings, resulting in incredible confusion
at the plant.

Rock accepted the news of his dismissal
with the same good-natured humor that
today seems to characterize him on-screen.
Somehow he had learned the magic of
laughing at himself — a trick he has never
forgotten. He also learned to take things
in stride. Rock is and always has been
a stranger to worry and anxiety.

He had a reputation through high school
as a one-woman guy — Nancy’s — and al-
though some of his female classmates say
they would like to have dated him, it was
generally known that he was “taken.”

Usually, he and Jim double-dated. Their
pattern of dates was always the same: a
drive around town in any automobile that
happened to be available, followed by
Cokes at the local candy store. Their
favorite car was an ancient Model A Ford
convertible that originally cost sixteen
dollars but had a thirty-dollar top. On
weekends they all went to dances at the
Winnetka Country Club or at school.

Despite his size — Rock was almost six
foot, three inches in high school — he was
an excellent and tireless jitterbug dancer.
Nancy, who is a petite brunette, recalls
that her head used to ache from looking
up at him when they danced but, she says
nostalgically, “he sure was a dreamy
dancer!”

It was Rock’s aptitude for dancing that
was responsible for his becoming a gigolo
before he left high school. As a gag, he
and Jim Matteoni answered an ad for
young men who wished to earn fifty cents
an evening by dancing with young students
in a dancing class in Evanston. For four
months they commuted to Evanston on
weekends regularly, much to the anger of
their dates at home.

During free afternoons, Rock and Jim

scouted all the record shops searching for
bargains in jazz and boogie-woogie rec-
ords. Even as a child Rock had been inter-
ested in music and spent hours picking
out tunes on the piano with one finger.
Later, he became a good “by ear” pianist.
When he reached high school he and Jim
invested in a wind-up phonograph.

While the boys were searching for col-
lectors’ items they cut a record that is now
a collector’s item of its own. The record,
made in a dingy shop on the South Side of
Chicago, features “Jim Matteoni on piano
with Roy Fitzgerald.” While Jim played
the piano Rock talk-sang two stories, one
about a racehorse and the other about a
baboon.

Now that he finally has the money to
indulge his taste, Rock has a fabulous
record collection. But he still remembers
the days when he had to scrimp and save
to buy one record. Only two years ago he
told Jim Matteoni that he had finally ob-
tained a record of “Green Gin,” by Ernie
Andrews, that he had wanted since his
teens.

In addition to being fond of records Rock
was also fond of food. At the Sweet
Shoppe, a high-school hangout in Win-
netka, proprietor Peter Poulos remembers
Rock as a nice quiet guy who used to come
in almost every afternoon for a chicken-
salad sandwich and a hot-fudge sundae
with pecans — lots of pecans.

Thanks to plenty of food and hard work,
Rock developed into a solidly muscled
young man who was especially gentle be-
cause of his size.

At eighteen, when he was graduated
from high school, Rock was drafted into
the Navy. For a while he was stationed at
Glenview Naval Air Base, just outside Chi-
cago. He was near enough to go home for
weekends. On one visit he contracted
pleurisy and, in the excitement of his ill-

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ness, his mother forgot to notify the air
base. Rock was officially listed as AWOL
until the matter was straightened out.

While Rock was in the service he wrote
occasionally to Nancy Gillogly. When she
graduated from high school he wired his
mother to “buy Nancy a dozen red roses.”
Mrs. Fitzgerald bought the roses and wrote
to Rock that “Nancy Drake loved your
gift.”

In a panic, Rock wired back that “the
wrong Nancy” got the roses and, for hea-
ven’s sake, to set things straight. Mrs.
Fitzgerald bought a charm bracelet for
the right Nancy, who still has it, along
with a picture of Rock in his uniform,
inscribed “All My Love, Roy,” and a hula
skirt which he sent from Honolulu.

Rock eventually landed in the Philippine
Islands, where he worked on fighter planes.
When the war was over he was trans-
ferred to bombers. One morning, while
checking out a big bomber, he accelerated
both motors on the same side of the plane
at once — a near-fatal mistake.

The plane jumped off of the blocks hold-
ing its front wheels and before Rock could
bring it to a halt had chopped a smaller
plane into kindling. The next day Rock
was transferred to the laundry detail.

He accepted the transfer with good grace.
“It was the best job in the Navy,” he
says. “The cooks have to have their clothes
white and washed all the time. So you
tell ’em, if they want good service, they
better ante up the good food. You get it!
For taking care of their uniforms, officers
give you liquor which you can resell at
a neat profit. And you can make an easy
forty or fifty bucks a week just by going
through the pockets of dirty uniforms.”

After two years of service, Rock re-
turned to Winnetka. He was at loose ends.
As he put it, “I wanted to loaf around a
while, see my friends, date the girls and
have a good time.”

He drew twenty dollars a week from
the government and did as little work as
necessary to keep him going for a year.
When his GI allotment ran out he got a
job with the post office.

ock’s postal route took him down West
Cherry Street, a pleasant tree-shaded
suburban street in a nice residential dis-
trict. People on the route still recall him.
Mrs. Augdahl, whom he called “Mom,” had
a house at the end of Rock’s route; almost
every day he stopped in for coffee and
doughnuts and to rest his feet. Mrs. Aug-
dahl went to Hollywood for the This Is
Y our Life TV show featuring Rock and
afterwards said, “He hasn’t changed at all.
He’s still the same now as he was when
he was a postman.”

Arthur Klopher, who was postmaster
in Winnetka at the time, says, “When
Rock worked for me, he was always on the
job. He was a very determined fellow. His
family wasn’t in a very good way, finan-
cially, and he made it on his own.”

Rock, who scored a 96 on his Civil
Service exam, was eligible for a promotion
just a few weeks after he left for California
with his mother. The plan originally was
for Rock to go to the University of South-
ern California while his mother worked
for the telephone company in Pasadena.
However, Rock’s high school grades were
not high enough for him to enter the
University, so he got a sixty-dollar-a-week
job as a truck driver for the Budget Pack-
ing Company, delivering dried beans to
grocery stores. Meanwhile, he was work-
ing toward his secret ambition — to become
an actor.

To save money he looked up his father,
Roy Scherer, in Long Beach, where he
owned an electric appliance store, and
stayed with him. Although Rock’s father
left his mother, the parents remained
friendly (in the Hollywood tradition) over

the years. Also, Rock spent many sum-
mers with his paternal grandparents and
he and his Dad regularly corresponded
with each other.

One night Rock approached his father
on the subject of actors and acting.

“Dad grunted like he’d been hit in the
stomach,” Rock says. “He said not to men-
tion actors to him. He considered them
unreliable and unstable.”

He soon moved out of his father’s home
and got a room in a family hotel with
three other drivers. One of them had a
friend who knew an agent named Henry
Willson, who was in charge of talent for
David O. Selznick.

Rock arranged for an interview with
Willson and had five pictures of himself
taken by a photographer whom he chose
from the classified ads. He borrowed
twenty-five dollars to pay the photographer
and worked three days to repay the loan.

On the day he went to see Willson for
the first time, Rock says his “knees were
knocking like a pair of maracas and my
throat felt like sandpaper.”

* ★
TO REACH THE STARS

Allied Artists, 4376 Sunset Drive,
Hollywood 27

Columbia Pictures, 1438 North
Gower Street, Hollywood 28
Samuel Goldwyn Productions,

1041 North Formosa Avenue,

Los Angeles 46

M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451, Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38 '

Republic Studios, 4024 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 West
Pico Boulevard, Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City

Warner Brothers Pictures,

4000 West Olive Avenue, Burbank

* *

When Willson asked Rock if he could
act, Rock told the truth, “No.” He figured
the interview was then at an end.

“Good,” answered Willson. “I think I
can do something for you.”

Willson saw in Rock the moviegoers’
ideal of a typical American boy. “He had
size, good looks, strength and a certain shy-
ness that I felt would make him a star
like Gable,” says the agent. “He has the
kind of personal charm that makes you
think you’d enjoy sitting down and spend-
ing time with him.”

Willson took Rock to leading executives
at his studio, none of whom would give
him a screen test. “Bring him back when
he’s ready,” they said. So Willson pro-
ceeded to get him “ready.”

For three hours a week, Rock took les-
sons from diction coach Lester Luther, at
twenty-five dollars an hour, paid by Will-
son. Rock also took dramatic lessons every
night — after working all day as a truck
driver. He kept the job because he was
never as certain as Willson was that he
had the stuff stars are made of.

Fighting traffic and toting bales of beans

all day left Rock tired and tense by the
time he arrived for his dramatic lessons. ’
So his instructor, Florence Cunningham,
taught him a trick which he still uses to
relax: He would envisage a small white
pearl on a piece of black velvet and, while
concentrating on it, recite the alphabet.

He had a lot of trouble getting rid of his
nasal, Mid-western twang, but finally,
where training had failed nature took over.
He caught cold. After a long siege he came
down with laryngitis. When it was over
he found the racking cough had deft his
voice deep and resonant.

After more than a year of lessons and
hard work, Rock was “ready,” in Willson’s
estimation. The final step was to give him
a new name.

Willson is famous in Hollywood for hav- ;
ing discovered — and named — Tab Hunter
and Race Gentry. He didn’t like the length
of “Fitzgerald,” which Rock was then
using. So he selected the name of a car
for a last name and suggested Rock add
his own first name. After some deliberation
Rock changed Roy to Rock.

Having supplied him with a new voice,
a new name and some dramatic instruc-
tion, Willson again took his discovery out
for inspection. First stop was the offices of
Raoul Walsh, the film director who had
had good experience with truck drivers.
He had taken another man off a truck and
turned him into John Wayne.

Walsh looked Rock over with a prac-
ticed eye. “Green,” he said to Willson, “but
juicy. Even if he can’t do anything he’ll
be pretty scenery.”

Walsh signed Rock to a personal con-
tract at $125 a week and put him in
“Fighter Squadron.” In his first film Rock
had only one line, “You’d better get a
bigger blackboard.” It took him thirty-
four trys to say the line right.

By then Willson was on his own, as an
independent agent. He believed the best
studio for Rock would be Universal-Inter-
national. For weeks Rock worked on the
scene that was to be his test for the studio.
On the night before the test he worked
with Walsh, then went to the studio, only
to find he had brought the wrong script.

After the test Rock had a discouraging
interview with producer Walter Wanger.

It seemed to go wrong from the beginning.
Discouraged and miserable, he went back
to his rooming house convinced that he
would be a truck driver for life.

On his way up to his room he remem-
bered a little old lady on the ground floor
who had had a stroke. Rock had been in
the habit of reading the comics to her
every afternoon, and telling her all about
his day on the truck or at the studio.

She, in turn, was his first fan. She had
seen “Fighter Squadron” six times before
her stroke. That night she asked him how
the interview with Wanger had gone.

“I was about to tell her the truth,” says
Rock. “But then I decided not to. Instead
I said everything was wonderful and that
I was sure to have my name in lights, with
her as my chief advisor. Then I went on
and read to her. Suddenly she began to
jerk convulsively and within a few min-
utes she was dead.”

As he sat there, holding the old lady,
Rock was glad he had lied to her, that he
had made her happy, thinking things were
beginning for him. “Just then,” he recalls,
“the telephone rang. It was Henry. U-I
was going to sign me to a contract. Sud-
denly, I felt strange. I thought of the little
old lady on the ground floor and what I
had told her. And I wondered.”

Rock’s life at Universal-International
was far from easy. The studio had oaid
off more than $9,000 invested in him by
Willson and Walsh and they were deter-
mined to improve on their investment.
They felt Rock had the raw material stars

are made of. It was their job to shape
him into a box-office figure.

Every morning he reported to the studio
at eight and began a day which he later
said was harder than driving a truck. As a
star student at the studio’s drama school
he was coached in everything from acting,
to fencing; to riding; and literally pum-
meled, pushed, and punched into shape by
Franie Van, the studio’s athletic director.
If he found Rock slouching, Van would
slap him smartly on the back. Van had
a one-hundred-dollar bet that he could
break Rock’s slouch habit. He was deter-
mined to win it — and he did.

During this time Rock was considered
just another actor in Hollywood. The
only magazine cover he appeared on was
a comic book. Finally, after a year in
which he never appeared before a camera,
Rock was again judged “ready” by drama
coach Sophie Rosenstein.

He was given bit parts in dozens of
films. During four years he appeared in
more than thirty-five pictures, and at one
time worked for five straight months with-
out a day off. But he loved it. “I asked
for work when I signed up,” he says. “I
got it and it paid off, so I had nothing to
complain about.”

One of the many pictures he worked on
was a Western, and Rock had trouble with
his first riding part. Every time the cam-
eras began to roll and he began to ride,
his ten-gallon hat fell off. The scene was
tried more than half-a-dozen times. And
each time it became more and more em-
barrassing for him.

Rock was mortified and, as often hap-
pens, completely unable to do the scene
because he was so acutely aware that
everyone was watching him. The tension
was finally broken when someone among
the crowd of watchers started to laugh. It
was such an infectious giggle that it broke
up everyone, including Rock, who imme-
diately became relaxed.

The giggle came from blonde Betty
Abbott, who was the script girl on the
picture. When Rock searched her out later
he began a friendship which was to con-
tinue through most of his early years in
Hollywood.

As a bachelor Rock was linked roman-
tically with scores of girls. At first his
studio wanted him to date young and
better-known stars in the hope that he
would make the fan magazines and news-
papers. So for a while he dated Vera-Ellen
almost exclusively. Their romance was
studio -inspired at first, then became more
serious, until finally it became a question
of whose career would be more important
in a marriage. Vera-Ellen didn’t want to
give up hers and Rock was just starting.
They decided to wait.

“We were both serious about marriage
for a while, then decided we weren’t ready
for marriage— yet,” says Rock, explaining
why the romance ended.

Meanwhile, Rock’s career began to
gather momentum and he began to be seen
in the right places with the right people.
One of these was Rocky Cooper, Gary’s
wife, who needed an escort for an impor-
tant party. Rock was suggested and es-
corted Mrs. Cooper to the event on a
Friday night. That casual appearance was
to have important aftermaths for Rock and
was a turning point in his career.

Next month, Joe Hyams continues the
absorbing inside story of Rock Hudson’s
rise to stardom, of the numerous women
in his life and what they meant to him,
and what effects the many events in his
fantastic Hollywood experience have had
on him. Don’t miss Part II of “The Rock
Hudson Story” in

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The Small, Private World of Audrey Hepburn

( Continued, from page 67)
cloak one’s real nature. Not many stars
can survive such a test; a few come
through with only passing marks.

At the wind-up of “Funny Face” in
Paris, not only was the company cheering
for Audrey Hepburn in one fervent voice,
but most of its male members were a little
in love with her. The French crew dug
into their faded blue jeans and got a col-
lection to buy her a magnificent bouquet
of roses, then proudly went home with
autographed pictures of her for each
member of their families. “La petite, elle
est formidable” (“The little one, she is ter-
rific), one Gallic crewman summed up
his fellow workers’ sentiments about Au-
drey.

Simple graciousness and good breeding
have always been a part of Audrey Hep-
burn’s nature. But it has been since her
marriage to Mel Ferrer, especially, that she
has achieved a quiet directness and
warmth in her relations with others, with
her work and with herself, which is the
direct result of the happiness of a woman
in love.

Audrey gives of herself and her friend-
ship with caution. A hypersensitive na-
ture, aggravated by her harrowing war
experiences, has caused her to shrink
shyly from a too casual friendliness. But
since her marriage she has learned how to
unbend. Although still not a social but-
terfly, preferring quiet evenings at home
with Mel, she can now throw herself into
a convivial gathering with zest.

The crew members of “Funny Face” re-
call, among their most memorable Parisian
experiences, the two dinner-dance parties
Audrey and Mel gave for them. Audrey,
as tireless at festive occasions as she is at
work, danced with all the men. When she
learned at the first gathering that it was
the unit production manager’s birthday,
she asked the restaurant chef to improvise
a birthday cake, and she led the guests,
who included Ingrid Bergman, in singing
“Happy Birthday.”

Her marriage, despite its relaxing effects,
has also intensified her taste for seclusion.
She needs no outside influences to enhance
her happiness when she is alone with Mel.
“I’ve been spending more time being a
wife than a star, and I’m very happy about
it,” she said.

To Audrey, marriage is heaven on earth,
and she can’t understand the state of
bachelorhood at all. “I never really ap-
preciated the joys of being able to share

one’s precious moments with another per-
son until I was married,” she remarked.

Mel, with that exquisite good taste of
which he and Audrey both have an abun-
dance, very seldom came to the “Funny
Face” set to see her. But it was never
very difficult to know when Audrey was
expecting him. Always in a bubbling good
humor, she was truly radiant on those days.

On one particular day, even the sun de-
cided to cooperate. The Sacre Coeur glis-
tened white and gleaming on the Butte of
Montmartre, as the company broke for
lunch. Audrey had changed into light cot-
ton slacks and a black high-necked sweat-
er, and her long hair was ribboned into a
pony-tail. She sat at a table near the
window in the cafe which was serving as
the troupe’s headquarters. Humming softly
under her breath, she kept her eyes glued
on the cafe door.

Suddenly, one of those rickety old taxis
which are as much a part of the Paris
scene as Notre Dame rumbled to a stop
in front of the cafe, and Mel disentangled
his long legs from within it. Audrey, her
face lit up like a Christmas tree, dashed
outside.

Mel grinned broadly, greeted her with,
“Hi, gal,” and drew her toward him, kiss-
ing her gently. “Well, how did it go to-
day?” he asked, as he put his arm around
her. “Did you get much done?”

Audrey recounted the morning’s events
with animation, her words tumbling out
in her eagerness and pleasure at seeing
him. An unknowing onlooker would have
thought they had been separated for
weeks rather than a few hours. “And you,
what have you been doing, darling?” she
finished, and looked up at him tenderly.

Mel took her hand and they strolled
slowly into the cafe, while he told her of
the set of tennis he had played and of the
morning’s mail. He greeted the rest of
the company with a smile and handshakes,
and then led Audrey to seats at the film
unit’s long table.

Audrey surveyed the table, which had
already been set for the first course, with
a critical eye. Then, beckoning to the
waiter, she whispered in his ear.

“What’s this?” Mel commented, as the
waiter brought another portion of ham.

“You know you don’t eat enough,” Au-
drey chided him.

“You’re the one who should eat more,
not I,” Mel answered. “Just think of all
the energy you use up with your danc-

ing. Now, come on, eat up,” he said in
mock authoritative tones.

All during the meal, they grinned at
each other and chatted animatedly, or ex-
changed comments with Stanley Donen
and Fred Astaire, who were seated near-
by. From time to time, they glanced at
each other’s plates to see if the food was
being properly consumed. When the wait-
er had cleared the table, Mel took Au-
drey’s hand and held it in his. He didn’t
let go of it until they had finished their
mint tea.

“I have only a half-hour before I must
change,” Audrey sighed.

“Just time for a stroll,” he said.

They walked off, hand in hand, radiating
a cloudless happiness that was the envy of
all who looked at them.

Back on the set, Mel watched the re-
hearsal of one scene, and then made a sign
to Audrey that he was going. Her face
clouded a little, but she respects his wish
never to interfere when a scene is being
shot.

He bent down and kissed her on the top
of her head and took her hand. They
walked to the taxi stand.

“Remember, it’s Saturday and no work
tomorrow, so we’re going out to dinner
tonight,” he reminded her. “What are
you going to wear?”

“Oh, gosh, yes,” Audrey sighed. “The
same old problem. What about the beige
dress?” She looked at him questioningly.

“Fine,” Mel nodded.

“It’s hanging in the closet, darling.
Please arrange to have it pressed. And
check to see if your blue suit needs brush-
ing and pressing,” Audrey added. She
bent over Mel, by now in the taxi, and
kissed him on the cheek.

Then, with a last wave of the hand, he
was gone. For a moment she gazed after
the car, fast disappearing into Paris traf-
fic, then walked slowly back to the set.

Audrey and Mel were drawn together
by their mutual love of the theatre. Nei-
ther one of them can detail the exact mo-
ment their friendship turned into love.
“After a while, we both just took it for
granted that we would marry,” said Au-
drey. The natural transition from realiza-
tion of their love into marriage explains
the fact that Audrey has no engagement
ring, only a plain wedding band. “I was
never engaged,” she says. “Just married.”

The Ferrers’ personal, as well as pro-
fessional, interests dovetail neatly. Both
highly cultured, sensitive, and intelligent
individuals, they find enjoyment in the
same pursuits, and each has learned to
like the other’s hobbies.

Having begun his career as a dancer
himself, Mel shares Audrey’s fondness for
ballet as well as, of course, the theatre.
Audrey has learned the finer points of jazz
from Mel, who is a fervent jazz enthu-
siast. Their portable record player and
records are always a part of their baggage.

Audrey’s interest in fashion has influ-
enced Mel to the point that he accom-
panies her to Givenchy showings and
helps to choose her clothes.

Mel’s zest for sports has rubbed off a lit-
tle on Audrey, and she has proved an apt
pupil in tennis and golf.

Both accomplished linguists, they enjoy
good literature and stimulating conversa-
tion in any country in which they may
find themselves.

With only three released pictures, “Ro-
man Holiday,” “Sabrina,” and “War and
Peace,” Audrey Hepburn has entered the
halls of screenland immortality. The doors
through which she had to pass were
heavy. But they swung open before her
as if by magic.

Only it wasn’t magic that did it. The

DID HIS KISSES MEAN LOVE?

Vital questions about life and love are
answered on radio’s “My True Story.”
For it presents real-life stories taken right
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You hear how people like your friends,
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“MY TRUE STORY”

American Broadcasting Stations
“Here on this hilltop I dreamed — only to have my dreams torn to shreds.”
Read “Forsaken” in February TRUE STORY magazine, now at all newsstands.

only sorcery involved was Audrey’s own
personal charm, which first startled and
then bewitched today’s generation of
moviegoers, case-hardened to a less dis-
creet school of beauty. Audrey’s formula
for success was a concoction of hard work,
a strong will, and a fund of natural tal-
ents. There was a generous portion of
luck, too, but even if the famed French
writer Colette had not found “this treasure
on the sands,” as she described Audrey, in
Monte Carlo and sent her to New York to
create the American version of her “Gigi,”
Destiny would surely have unveiled Miss
Hepburn in another guise.

The story of Audrey’s war-shattered
childhood is a familiar one. After the
Germans occupied Arnheim, in the Neth-
erlands, where she and her mother were
living, and closed the dance conservatory
at which Audrey had been studying, she
installed a dance bar in an empty room of
their home. At an age when most girls
are tripping over the polished floor at a
school prom, Audrey was giving ballet
lessons to youngsters not much younger
than herself.

With the few pounds which was the
maximum allowed by the post-war Dutch
government, Audrey and her mother got
to London. The first showman to fall un-
der the spell of Audrey’s magic personal-
ity was the dance director of the London
musical production of “High Button
Shoes,” who chose her out of three thou-
sand candidates for one of the coveted
spots in the front-line chorus. Another
musical, “Sauce Piquante,” brought her to
the attention of British film producer
Mario Zampi.

The roles that followed were small, but
they brought her closer to that bright, sun-
lit afternoon in the lobby of Monte Carlo’s
Hotel de Paris, when novelist Colette,
after watching Audrey intently from the
wheelchair she rarely left, cried, “I’ve
found my Gigi!”

And Audrey had found her future.

r unny Face” is a natural crystallization
of Audrey’s girlhood ambitions and train-
ing. Not only does she dance in one solo
star number, as well as together with Fred
Astaire and Kay Thompson, but she sings.

Fred Astaire, who has had some fine
dancing partners in his career, calls Au-
drey “a show business phenomenon.” Says
he, “She can do anything and do it with
spirit and verve. She’s a wonderful artist.”

Gene Loring, choreographer on the pic-
ture, insists Audrey could have become an
exceptionally fine ballerina. “She endows
every movement with quality and lyrical
expression,” he states.

“Funny Face” employs the title of a mu-
sical Astaire did on Broadway in 1927, in-
corporates some old Gershwin songs and
some new ones composed by Roger Edens,
and has a story inspired by the true-life
experiences of fashion photographer Dick
Avedon. It recounts a photographer’s
search for a model who embodies elegance,
grace, distinction and intelligence. He un-
earths her, trains her, and falls in love
with her.

Famed Paris designer Hubert de Gi-
venchy, who sketched all Audrey’s dresses
for “Funny Face” and who designs her
personal wardrobe, calls her “the perfect
model.” Says he, “I’m always inspired
by Miss Hepburn when I look for
my own mannequins. She has the ideal
face and figure, with her long, slim body
and swan-like neck. It’s a real pleasure
to make clothes for her.”

Audrey’s fashion sense is also lauded by
Gladys de Segonzac, “Funny Face” ward-
robe supervisor. “Audrey can wear any-
thing, with taste and dignity. And her
patience in fittings is extraordinary. She
can stand for hours at a time, never fidg-
ets, never squirms. You know how tired

\ '

PHOTOS OF YOUR
FAVORITE STARS

$ MOVIES jn V $ RADIO

* A RECORDING STARS i cowboys

Facsimiles of GENUINE AUTOGRAPHS ON EVERY PICTURE
These are REAL GLOSSY ENLARGEMENTS (on heavy portrait paper)
LATEST RELEASES from all MAJOR STUDIOS (First Time Available)

I Our Publicity Department has now made it possible for us to give you

ABSOLUTELY FREE pictures ot your favorite stars of Screen. TV, Radio

and Recordings. These pictures are genuine STUDIO PORTRAITS . . and each one
has a facsimile autograph. We must ask you to order only 10 at. a time, so we
can be sure to have enough for all of the fans. Be sure to enclose 10c for EACH
PICTURE that you order to cover cost of postage and handling of each picture.
NO WAITING! Your pictures will go out the same day we receive your request.
If you prefer, we can send Air Mail. (Enclose 25c extra.)

Lisr TOUR FAVORITES BY NUMBER ON THE COUPON BELOW. BE SURE TO ENCLOSE 10c FOR EACH
PHOTO THAT YOU WANT TO COVER POSTACE AND HANDLING. |IF SOME OF TOUR FAVORITES ARE NOT
LISTED IN THIS GIANT LIST. YOU MAT WRITE THEIR NAMES ON A SEPARATE SHEET OF PAPER. AND
ENCLOSE WITH TKc COUPON }

US — Kirk Douglas

116— vera Ellen

117— Oick Haymes

118— George Reeves

119— lone Ranger

120— John Encson
I Mayo

I— Elvis Presley

J-Tab Hunter

4— Robert Cummings

5— 0<ck (ones

7 — Ames Brothers

8— Loretta Young

9— Tony Curtis

10— Rosemary Clooney
1 1 —Clint walker
12— Cordon Scott
1 J -Deborah Kerr
14 — Marilyn Monroe

15— Rm-T.nTm

16— Robert Wagner

17— Champions

18— Anita Ekberg

19— Gaylords

20— Harry Belafonte

21— Louis Hayward

22— Molly Bee

23— Rei Allen

24— Bobby Van

25 — Arlene Dahl

26 — Perry Como

27— Gale Storm

28— Scott Brady

29— l.m Oavis

30 — Dana Wynter

31 — Tennessee Ernie

32— Susan Hayward

33— Humphrey Bogart

34 — John Russell

35— Sammy Oavis )r
35- Sally Forrest

37— Gig Young

38— Roy Rogers

39— Dale Evans

40 — Charlton Heston

41— Rusty Tamblyn

42— Lana Turner

43— June Allyson

44— Trigger (Horse)

45— Keith Larsen

46— Sunset Carson

47— Teresa Brewer

48— Alan Ladd

49— lack Sernas

50— Rossana Podesta

51— Eiitabeth Taylor
57- Rock Hudson

53— lohn Kerr

54— Lassie

55— Kay Starr

56— Bob Steele

57 -Stewart Cranger

58 — Audie Murphv

59— June Haver
60 Sheree North
61— Oesi & Lucille
67— Omah Shore

168 — Montgomery Clitt

169— Robert Mitchum

170 — Shirley Temple

171 — Mit/i Gaynor

172— Jeanne Cram

173— Jetl Chandler

66 Ph.l Silvers

67- Guy Madison

68— James Stewart
69 Betty Crable

70— Pi

71 Cre

Angel.

Cuts

72- Gary Crosby
73 K,m Novak

74— Louis Jourdan

75- Leslie Caron

76 Tommy Reltig

77 Barbara Britton
78- Ben Cooper

79 -Glenn Ford

80— Rossano Brar/r

81- Cyd Charisse
82 Bmg Crosby

83— Jack webb

84 — Nelsons

85— Jackie Gleason

86— Margaret O'Brien

87— Sal Mineo

88— lohn Oerek
89 -Rita Hayworth

90— lames Brown

91— Charlie Applewh.t

92 — James Arness

93 — Richard W.dmark

94— Susan Bail

95— Frank Sinatra

96— Sid Caesar

97— Jack Mahoney

98— Ernest Borgmne

99— Jane Wyman

100— Pat Boone

101— Oanny Thomas

102— Gene Autry

103— Pat Wayne

104 — John Wayne

105 — Ann Blylh

106 — Johny Ray

107— Champion (Horse)

108— Hopalong Cassidy

109— Marlon Brando

110— Edmund O'Brien

111— Audrey Hepburn
117— Ooris Oay

113 -liberace
114 — Mary Castle

127—

123-Oavid & Ricky
174— Rocky lane
125— Van Johnson
126 -Cormne Calvet

177— Donna Reed

178— Gordon McRae

129— Hugh 0’Brian

130— Burt Lancaster

131 -J

i lew.

137— Dean Martin
133— Gail Oavis
13* -Oewey Martin

135— Joan Collms

136— Guy Mitchell

137— George Gobel

1 38 -Oebbie Reynolds

139— Eddie Fisher

140— George Nader

141— Mr 8 Mrs North

142— Howard Keel

143 — Shelly Winters

144 — Bobby Driscoll

145 — four Aces

146 — Jayne Mansfield

147— Sherry Jaclison

148— Robert Francis

149— Clark Gable

150— Maggie McNamara
151 —Billy Gray

152— Peggy lee

153— Jean Simmons

154— Oonald O’Connor

156— Rory Calhoun

157— Tommy Cook

158— Rhonda Fleming

159— Fess Parker

160— Mario lanra

161— Ann Francis

162— William Holden

163— Diana Lynn

164— Kitty Kalen

165— O.ck Powell

166— Ann Miller
167 — Tyrone Power

175 -Elame Stewart

176 Mona Freeman

177 Four lads

178 -Palt. Page

179 Terry Moore

180 Jan Claylon

181 — Brian Keith

182— Esther Williams

183— Nat King" Cole

184— /ell Hunter

185— Gloria Winters

186 Julius La Rosa

187 Robert Taylor

188 -Fernando lamas

189— Cm

indgid

190— Dale Robertson

191 - Ursula Th.esse
192 — Fontaine Sisters
193— Zsa Zsa Gabor
194 -Frankie Lame
195— Richard Todd
196 Jams Paige

197 — Gi/elle MacKenne

198— Peter lawtord

199— Mamie Van Ooren

200— Jack Lemmon

201— Peggy King

205 -Carol Ohmari

206— Ava Gardner

207— Perry lope;

208— Rita Moreno-
709- Jane Russell
210— Farley Granger
71 1— Piper laune

717— Mary Murphy
713— Jetf Richards

214— Jane Powell

215— Shirley Maclame
716 — Betty Hutton
217— Peter Graves

718— Janet Le.gh

719— Grace Kelly
220— Shirley Jones

List the numbers of the Stars you wish and be sure to
enclose 10c for each picture to cover postage and
handling. LIMIT IS 10 PICTURES FOR EACH REQUEST.

£X TRA! Free, to the first 500 Ians —
a list cl names and addresses of your favorite
stars.

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when we run out of stock— ORDER TODAY!

STUDIO FOTOS dept hs

BOX 36631, HOLLYWOOD 36. CALIF.

I STUDIO FOTOS Dept. 116 Boi 36631. Hollywood 36. Calif.

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she must be, but she never mentions it.
She makes her changes with amazing ra-
pidity, with never a wasted motion.”

Starring in a musical film is, of course,
something entirely new for Audrey. Mel
had been urging her to do it for some time.
“And so,” she sighed, “I suppose this will
start all those stories again about Mel di-
recting my career. Of course, he occa-
sionally gives me advice, as does every
husband, but I always make the final de-
cision myself.” Audrey’s delicately-pointed
chin tilted defiantly. “I, too, felt that I
needed something light and gay to follow
my serious role in ‘War and Peace’,” she
continued, “but in my wildest dreams, I
never thought I’d have a chance to play
opposite Fred Astaire.”

“I was in on the first discussions,” Mel
said. “After that, I stayed out of it. I
said to Audrey, ‘I don’t want to influence
you,’ and I walked into the other room.
Audrey usually takes about three days to
read and consider a script. This one she
finished in two hours. She burst into the
room where I was working and cried, ‘This
is it! I don’t sing well enough, and I’m not
a good enough dancer, but, oh, if I can
only do this with Fred Astaire!’ ”

Audrey’s passion for perfection tolerates
no partial measures. Despite her back-
ground in the dance, she attended a ballet
school in Paris every day for three months,
preparing for “Funny Face.”

It was Paris’ coldest winter in years.
The unheated studio registered sub-zero.
The ballet master usually wore three
sweaters; the accompanist wore woollen
gloves and a heavy coat.

Audrey would arrive scantily clothed in
the ballerina’s traditional black garb, and
enthusiastically begin her work at the bar.
She asked for no star treatment. Like all
ballet students, she addressed her profes-
sor as “Monsieur,” and to him she was
“Audrey,” like any of his other pupils.
The only indication of her fame was the
nightly inspection of the street outside to
see if the coast was clear of photogra-
phers.

This same ballet instructor, Monsieur
Legrand, had occasion to judge Audrey on
qualities other than her ballet skill, par-
ticularly her sense of loyalty to those she
likes. On her way to the studio one day,
Audrey was accosted in the corridor by a
dancer who is known for her caustic
tongue. “Why do you study with Legrand?”
the girl asked Audrey. “I know a much
better teacher.”

Audrey said nothing. After all, the
dancer may have had good reasons for her
opinion. But on getting to the Legrand
studio Audrey learned that the dancer had
never seen him work, and, as a matter of

fact, had never set foot in his studio. Her
remarks stemmed from pure pettiness.

Audrey was infuriated. She dashed back
to the hallway to find the woman and tell
her exactly what she thought of her. But
she had left. Otherwise, she would have
discovered how Audrey’s normal com-
posure can melt at any evidence of injus-
tice or prejudice, especially toward a
friend or associate.

Audrey is as fierce and intense in her
personal relationships as in her work. She
is deeply attached to her mother, who
lives in London and who often visits Au-
drey and Mel. Baroness van Heemstra
came to Paris several times during the
shooting of “Funny Face.” Her daugh-
ter’s attachment for her mother is mingled
with admiration and respect for the Bar-
oness’ great capabilities and her guidance.

Besides Mel, Audrey adores cottage
cheese, milk and other dairy foods of
which she had been deprived in her form-
ative years. One of her most vivid mem-
ories of the Liberation is the seven
chocolate bars given her by an English
soldier. She ate them all at once, quickly,
and was violently ill.

Audrey’s obsession for security is an-
other leftover from her turbulent youth,
when she witnessed the plunder of her
family’s fortune by the Nazis. She has
invested her earnings in such a way that
she can’t touch them except in a case of
extreme emergency.

“Then if I should ever get sick and can
no longer work, or if I decide to retire
and raise a family, I won’t have to worry
about money. And I know that my moth-
er will always be taken care of,” Audrey
said soberly, as she lit a cigarette. She
smokes only moderately. Mel doesn’t
smoke at all, and neither of them drinks.

Although wrapped up in her career,
Audrey will never become a slave to her
artistic pursuits at the cost of her mar-
riage. “We’ve been rather crafty about
arranging our schedules so as to stay to-
gether,” she laughed. When Audrey
laughs, she appears to be about fifteen
years old.

Their first separation of more than two
days since their marriage took place last
fall, when they accepted their first com-
mitments to make separate movies. Even
then, the work took them no farther apart
than different sections of the same coun-
try, France. Perhaps future necessities
will require wider separations, but when
we spoke to her Audrey didn’t want to
think about the terrible loneliness she will
feel during Mel’s absences. Although
equipped with a fund of resources within
herself, Audrey dreads solitude; and hap-
piness, centered on one person, has be-
come a habit. But an hour’s flight will

DAVE GARROWAY
ARLENE FRANCIS
STEVE ALLEN

Behind the Scenes
with NBC-TV’s Big Three

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bring them together from wherever they
may be, and their love will keep them to-
gether in spirit, no matter how far apart,
and no matter what the gossips may say
about them.

In the meantime, Audrey will go on do-
ing such things as lending her sheepskin-
lined ski jacket to the young assistant
dance director of “Funny Face,” as pro-
tection against the rigors of a French
winter on location, while Audrey herself
went through her outdoor routines, in the
flimsy costumes of her part, without a
quiver. And in such manner she will go
on winning the hearts of her associates,
big and small. As one French crew mem-
ber was inspired to comment, “I think we
should all work in our shirt sleeves. She’s
cold; why shouldn’t we be?”

Audrey would have blushed with pleas-
ure and incredulity had she heard her
fellow workers’ heartfelt opinions of her.
Success has not hardened her into an in-
different acceptance of kind words.

Her modesty is most apparent when she
discusses her work. “I often feel so inade-
quate,” she said. “There is so much more
I have to learn about my craft. I want
so badly to be a really* fine actress.”

Destiny has lighted the path and di-
rected Audrey’s steps to the top. She is
not the type to sit around and wait in idle
hope for a further helping hand. The End

GO SEE: Audrey Hepburn in Paramount's "Funny
Face" and Mel Ferrer in Warner Brothers' "The
Night Does Strange Things."

Exclusively Yours

(Continued from page 63)

This Hollywood story will surely have
a happy ending. Of certain others, I’m
not so sure.

Somewhere Vll Find You

There seems little doubt that Ava Gard-
ner will marry Walter Chiari, her new
and, perhaps, real love. When he intro-
duced Avf to his mother. Signora Anni-
ohiarico in Milan, that was proof enough.
In Italy, that is a sure sign. I first learned
about them many months ago — weeks be-
fore the silly rumor about her and Rubi-
rosa. She was in Paris, trying on clothes
at Dior’s, and Walter was at her side every
night. The story only leaked out when he
got a role in the picture, “The Little Hut”
(thanks to her intervention). As every-
one certainly knows, Chiari, one of Italy’s
brightest comic stars, used to be madly in
love with Lucia Bose, who married Ava’s
former love, Luis Dominguin. Walter’s
hold on Ava, it is said, is based on his abil-
ity to make her laugh. Chiari is a lean,
lanky clown with lots of charm; in fact,
he undoubtedly reminds her of Sinatra,
whom he adores to imitate, just for Ava’s
pleasure. They now travel about quite
openly together, and they share the same
bodyguard, a husky ex-carabinier Inci-
dentally, also. Walter dated Ava several
years ago in Rome, but only for a short
time, during one of her frequent “mads”
with Sinatra. After Bose married Domin-
guin, and before he found Ava again,
Walter dated Elsa Martinelli steadily.
They were even rumored secretly married.

Slow: Danger Ahead

Has Montgomery Clift the will-power
and the determination to lick the emo-
tional problem that is now shattering his
nerves and giving him no peace of mind,
or is he heading for a crack-up? That’s
the question that’s worrying his friends —
and I mean worrying. His shattered
nerves caused endless delays in shooting

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Tony Franciosa (right above, with Patricia Neal and director Elia Kazan) came
up the hard way, but Radie Harris predicts he’ll have it easy from here on in

“Raintree County” and added millions of
dollars to its cost.

What is this problem that is tugging at
his emotions, leaving him tired and spent
at the ripe old age of thirty-six? Is it a
frustrated love for Elizabeth Taylor, as has
been hinted out loud in many gossip col-
umns? Definitely not! His relationship
with Liz was simply one of great camara-
derie. The truth is that, for some strange
reason, Monty has always been attracted
to older women.

Perhaps it began when, at the impres-
sionable age of twenty, he played his first
important Broadway role with Lynn Fon-
tanne in “There Shall Be No Night.” What
ingenue his own age could be as exciting,
stimulating and glamorous as this First
Lady of the theatre? It’s pure guesswork
on my part, but I should think his interest
in older women is conditioned by this ear-
ly worship of Miss Fontanne. Later, when
Monty could have had his pick of the most
beautiful women in the world, his favorite
companion was a plain-looking, unglamor-
ous woman, also his senior by quite a few
years, named Mira Rostova, who was also
his dramatic coach. This attachment lasted
for several years.

The next woman to become important
to Monty was Libby Holman. For several
years she has been — and is — the dominat-
ing influence in his life. Back in 1929,
when her rich, throaty voice sang “Moan-
in’ Low” to Clifton Webb in “The Little
Show,” she was the toast of Broadway.
She started her career in 1924, exactly
four years after Monty was born, which
should give you a rough idea of the wide
divergence in their ages. Near-sighted,
she wears glasses all the time — and, night
or day, they are dark lenses. Though
Libby is middle-aged, she has the pencil-
slim figure of youth. And though she
seems serene, her life has been marked
by such violent tragedy that it almost
seems as if she had been cursed by some
malevolent enemy.

Her first husband was shot shortly after
their marriage. Whether it was murder
or an accident has never been solved to
this day, and a movie, “Written on the
Wind,” has been built around the mys-
tery. The death of her young husband
made Libby a fabulously rich widow. It
also left her with a fatherless son who
was her whole life until she met tall,
blond and handsome film star Phillips
Holmes — who, by the way, looked remark-
ably like Monty. They were inseparable
and divinely happy. Then came the war.
Phillips enlisted in the Air Corps and was

killed in a plane crash. His young broth-
er, Ralph, darkly handsome in contrast to
Phil’s blond good looks, wooed and won
Libby. This marriage, too, was destined
for a shocking final curtain when Ralph
committed suicide. Is it significant or
merely coincidental that Libby’s three
great loves were younger than she, just as
Monty is today? She never married again.
She lavished all her love on her only son.
Then, in the summer of 1950, when he
was eighteen, Chris Reynolds went to Cal-
ifornia to try and scale Mount Whitney.
He lost his footing and crashed down the
icy slopes to his death.

It is this woman, who has survived per-
sonal tragedies any one of which would
have “undone” anyone else, who is now
trying to help Monty get through the emo-
tional conflict that has been tugging at
him for the past year. When he had his
motor crash, it was she who rushed to the
Coast to help nurse him back to health.
During the trying days on location for
“Raintree County,” when Monty’s nerves
seemed at the breaking point, his studio
sent for Libby. Her arrival for a ten-day
visit calmed him down like a tranquilizer.
Her magnificent estate in Greenwich, Con-
necticut, is his home between pictures.
Hers seems to be the “mother love” he
desperately needs and he, in turn, is the
four “sons” she has lost.

Is this relationship the basis for Mon-
ty’s emotional torment? Is he trying to
escape an inner voice that tells him to
break away, and to try to find his per-
sonal happiness with a wife, nearer his
own age, who can build a future for him
and their children? Or is he listening to
another voice that assures him the pat-
tern of Libby’s appeal for him was set
long ago and that it is useless to fight it?
Whatever answer he accepts can bring
him at least a modicum of peace, and his
friends are hoping he will accept one or
the other — now, before it is forever too
late and a brilliant talent is destroyed.

Reunion in London

The night before I left London, I dined
with one of my dearest and oldest friends
— Ty Power. There were just the two of
us, and I didn’t know whether to be flat-
tered or insulted that his newest romance,
Mai Zetterling, trusted me alone with
him! Seriously, though, this “new” ro-
mance is liable to be old hat by the time
this reaches print, because Ty is thorough-
ly enjoying being the most eligible bach-
elor in London, and he refuses to be caught

in the “tender trap” again — at least for
quite a while.

I couldn’t help wondering whether ex-
wife Linda Christian now realizes, when
it is much too late, that she never had it
so good as when she was Mrs. Tyrone
Power. Ironically enough, she is still very
much in love with Ty and can’t stand the
man she broke up two homes for, Ed-
mund Purdom. And, by the way, I won-
der what’s happened to Purdom? He had
a great chance when he went to Holly-
wood, but it’s extremely doubtful that
he’ll ever be welcomed back there.

European Merry-Go-Round

Jean Pierre Aumont won’t be in France
when his new play, “The Very Happy
Angel,” has its premiere in Nice, on
Christmas Eve, as he will be filming in
Hollywood. . . . Olivia de Havilland and
her husband, Pierre Galante, have bought
a three-story house in Paris’ Bois de
Boulogne section. . . . On her birthday,
Rita Hayworth received a lovely set of
diamond clips from daughter Yasmin.
But, of course, it was really Yasmin ’s
father, Aly Khan, who went to the jewel-
er’s, picked it out, and paid for it. Rita,
now living in Paris, admits she will have
a hard time tearing herself away to re-
turn to Hollywood for “Pal Joey.” She
is negotiating to make a picture in Paris
nine months from now.

Keep Your Eye On

. . . Tony Franciosa, who will be seen
in Elia Kazan’s “Face in the Crowd,”
which Warner Brothers will release at
Easter time. A product of the Actors’
Studio, Tony is the virile type who looks
as if he came up the hard way — and he
has, holding down every sort of job from
welder to busboy in a Beverly Hills cafe-
teria. He was born in New York, but the
theatre never interested him, and he didn’t
even see his first play until a year after
he had begun studying acting. He ap-
peared in two Broadway plays, “Wedding
Breakfast” and “A Hatful of Rain,” and
then Hal Wallis tagged him for Hollywood.
He’s now on the Coast making “This Could
Be the Night” for Metro, with Jean Sim-
mons, and we predict this young actor
will zoom to stardom, fast. He’s never been
married, and is still in bachelor circula-
tion— a situation that Shelley Winters has
been trying to remedy ever since they
played opposite each other in “Hatful” and
continued their love scenes after the cur-
tain rang down! But Tony’s strictly a
career man, and it’s paying off.

Bighearted Man

It could only happen to Vic Mature.
Two evening dresses were missing from
a stack which had been used to make a
short to plug Vic’s new film, “Zarak,” and
; the Warwick Films company was ques-
i tioning everyone who had been present
: at the filming of the short. Everyone,
that is, except Vic. It seems that Mature
i overheard two chorus girls sigh over the
i dresses and lament how they would like
i to wear them to a ball they were going to.
i Mature very generously said, “The dresses
| are yours. Take them.” So, of course,
j they did take them. After a few days,
they heard about the fuss, packed the
| dresses in a suitcase and left them at
i Vic’s apartment. It seems he just wanted
; to make a gallant gesture, but forgot to
ask the owner’s permission. The End

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( Continued from page 52)

London town house, located almost within
the shadows of Buckingham Palace. The
room bore the unmistakable signs of a
woman’s touch, a woman’s occupancy — the
richness of the pale blue drapery fabrics
at the tall windows, the flowers atop the
mahogany piano, the delicate Venetian
glass and crystal that graced table tops and
mantel. The woman who was responsible
for these touches, however, was nowhere
in sight. Rossano Brazzi lounged back in
a deeply upholstered black leather chair.
He wore a dark red smoking jacket and
black patent leather slippers. He sipped
at a Scotch and soda in the manner of a
“Man of Distinction.” He inhaled long
and deeply on a strong French cigarette
— and they are, by the way, the strongest
in the world. He was the picture of a true
sophisticate, handsome and debonair.

He also looked happy, contented, at
ease. And he was.

“Please understand me,” he said, with
a trace of anxiety in his low, deep-
timbred voice, leaning forward and look-
ing very sincere, “I am not advocating
the double standard. I am not suggesting
that married men should flirt. I am only
saying that if a man flirts, he should not
permit his wife to be hurt by his foolish-
ness. Take me, for example. I love my
wife. We have been happily married for
seventeen years. But,” he set his drink
down with a gesture of vehemence, and a
note of defiance crept into his voice, “why
should I not have the pleasure of looking
admiringly at another woman — even, on
occasion, of taking her to dinner? Should
such a simple thing bring on tears? Re-
criminations? Should it send my wife
rushing to the divorce court? Should it
ruin our happiness?” He answered his own
questions with, “Nonsense!”

I agreed. However, didn’t his attitude,
while sensible in theory, require a certain
amount of trust and understanding on the
part of the wife? Any wife?

Rossano nodded. “But,” he went on,
“actually, I do not believe it is the harm-
less little flirtation itself to which the
wife objects. It is the way in which it is
handled. You see, as I said before, the
important thing is to handle it all in such
a way that no one is hurt. How does a
husband take some other woman out to
dinner without hurting his wife? Why,
by being careful to see to it that she does
not know about it.”

And if his wife should happen to ask
where her husband was until eleven
o’clock that particular night?

“Ah, but that is just it. She doesn’t ask.
At least,” and a fond, warm look came
over his handsome Latin face, “my wife
doesn’t. My wife is a wise woman. A
very wise woman. For instance — ”

He leaned back, stretched his legs out
in front of him, and lit a new cigarette
with a small gold monogrammed lighter.
His every gesture was charming, smooth,
dramatic. Almost too smooth, too dramatic.
Did he really mean these things he was
saying, or was he kidding? It didn’t really
matter. They still made good listening.

“First of all,” Rossano continued, “let
us suppose Lidia, my wife, expects me
home for dinner at seven o’clock. Let us
also suppose that somewhere in the
course of the day, I have met a woman who
intrigues me — who, for any one of a half-
dozen reasons, I would like to know
better. I ask her to dine with me. She
promptly says, ‘But you’re married.’ I
promptly answer, ’But of course I am
married.’ She then says — and you would
be amazed how consistent women are in

their replies to these things! — ‘Then how
can you have dinner with me?’ My reply
is always the same. ‘My dear,’ I assure
this young woman, ‘I did not ask you to
marry me. I merely asked you to dine
with me this evening.’ ”

It was now my turn to lean forward.
“And then?”

“And then,” smiled Brazzi, looking like
a cat who has eaten a particularly tempt-
ing canary, “I call Lidia. I am careful to
call her in plenty of time so that I am
not ruining a meal which she has gone
to particular pains to prepare. I am very
polite, naturally. And regretful; also
naturally. I casually mention a script
conference, a rehearsal. I tell her exactly
what time I shall be home — and I am
always home within half an hour of
that time.”

But if this charming little flirtation is
to remain charming, if it is to remain in
the memory of both as a delightful inter-
lude, everything must be carefully planned
and nothing left to chance. Where, for
instance, will they go for dinner?

“Someplace out of doors, if the weather
is nice. In Rome,” he sighed, remembering,
“the weather is almost always nice. Blue
skies, whitewashed buildings, a little
restaurant atop a hill, perhaps one over-
looking the Mediterranean. At such a
place,” he said, “there is almost no pos-

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sibility of encountering someone I know
who might later tell my wife and, of
course, make quite a story out of some-
thing that is not at all important unless
someone chooses to make it so.”

Rossano returned to his drink. He
sipped it thoughtfully. “There are many
ways of handling these situations, but
the best rule always is, quite simply, to
use good taste.”

Again I had to mention that it seemed
to me these arrangements always re-
quired cooperation. Granted, Rossano’s
wife was most cooperative in not asking
questions. Now supposing this young
woman, with whom he wanted nothing
more than a pleasant evening of talk,
should impulsively lean forward, as he
was bidding her good night, and leave a
smudge of lipstick on his collar? There
have even been times, I mentioned, when
women have been known to do such
things quite deliberately, in order to
disturb exactly the kind of happy and
understanding marriage which Rossano
Brazzi unquestionably enjoys with his
Lidia.

Rossano put down his glass with a
clatter. He looked at me angrily, as though
I had been guilty of such a breach of
romantic ethics.

“A man is a fool to get himself into
such an untidy situation! Lipstick on a
handkerchief? Throw the confounded
thing away. Lipstick on a collar? I carry
an extra shirt with me at all times. Some-
times, quite innocently, finishing up a
love scene with a leading lady or some-

100

thing, she leaves such a smudge on my
collar. I change my shirt. If necessary, I
would throw away the shirt. I would never
come home to my wife with powder on
my collar or a blonde hair on my lapel.”
Instinctively, he reached up and brushed
his lapel on this last remark.

“And if your wife should ask you, when
you get home, whether you had been out
with another woman?”

Brazzi’s eyebrows shot up abruptly.
“Lidia would not dream of doing such a
thing. A clever wife — and my wife is
very clever — does not ask her husband
if he has been seeing some other woman.
She might think it, but until he tells her
so, she doesn’t know it. If she does not
ask, he cannot tell her. A wife must trust
her husband implicitly, and he must know
that she does.”

Trust, Brazzi declared gravely and seri-
ously, is the most binding and enduring
quality in any marriage. “The very first
minute a woman starts doubting her mate,
the union is over. And jealousy!” Rossano
threw up his hands. “Jealousy can kill a
marriage in one blow. But always remem-
ber, it takes two to start jealousy.” He
leaned back, looking very wise. “A sensible
husband never gives his wife a reason to
be jealous.”

To illustrate his point, Rossano de-
scribed a typical evening out with his
wife. He and Lidia might be dining at a
smart restaurant. Perhaps there is a
striking, magnificently dressed beauty at
the next table. Brazzi sees her — out of the
corner of his eye— but that’s all! At all
times, he shows the utmost consideration
for his wife. He never, never smirks and
remarks, “Boy, what a gorgeous dish!”

He raised a forefinger. “That,” he de-
clared, “is where my wife is clever. She
is the first one to draw my attention to
the attractive woman. She is the first one
to comment, ‘Isn’t she lovely!’ ” Rossano
shrugged. “What can a man say then?”

Rossano said that he met Lidia when
they both were sixteen, attending the same
school in Florence. At twenty-one, they
were married. Rossano studied law and
began practicing in Rome. Then one
summer he appeared in an amateur the-
atrical production, a film producer noticed
him and signed him to a movie contract,
and he has been an actor ever since.

“Suddenly, I was thrust into a business
where I saw dozens of exciting women
all around me. Naturally, like any red-
blooded Latin, I was tempted. But Lidia is
not, somehow, the kind of wife to whom
one is unfaithful. She is too intelligent,
too understanding. By giving me the little
freedoms she keeps me happy, content.
And I think if I were to start my life
over again and marry again, I would still
choose Lidia.”

Why?

“Because Lidia is the perfect wife,”
Brazzi answered promptly. “She manages
the home beautifully. My breakfast is
ready on time. My shirts, ties, suits are
always clean and in order. She takes down
my telephone messages, reads my scripts
with me, discusses contracts. She praises
me only when I deserve it. She never
gushes. She’s real. She’s honest.”

We began comparing the average Italian
wife to her American counterpart. We
discussed a fact Rossano had brought up
earlier, that there are so many more
divorces in America than in any country
in Europe. Brazzi thought this was partly
because American husbands and wives,
though they loved each other very much,
didn’t respect one another as European
husbands and wives do.

“That is,” he said, “they do not respect
one another’s right to privacy, to having a
little part of themselves that belongs to

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no one else. A little room, shall we say,
marked, ‘No admittance.’ ”

On the other hand, Rossano said he
was sympathetic toward American marital
troubles, because he feels the United
States, compared with Italy, is still an
infant nation. “We’ve had centuries of
experience,” he philosophized. “Italian men
and women are born with a talent to cope
with these problems.”

But doesn’t Lidia ever phone to say
she won’t be home for dinner? That she’s
playing bridge, say, or its Italian equiva-
lent, as American wives sometimes do?

“Never!” replied Rossano emphatically.
“Oh, she may do those things during the
day — by the hour, in fact — but she’s home
in time to prepare a good dinner. The
house is always in order. Fresh flowers
are on the table. When I walk in, I have
the feeling she’s waiting for me. That’s
one of the most important things in mar-
riage— to know that someone is waiting.”

There are other things, too, in the
Brazzi match which make it a happy
union — in spite of what Rossano insists
on confessing is a slightly roving eye.
Money, for example. Rossano said his
wife never has to ask him for enough
cash to get through the day. They have a
joint bank account, and Lidia writes a
check whenever she needs to. He spends
what he likes. “I make the money,” he
declared. “But it’s ours.”

And then there is thoughtfulness. If
Lidia has stitched up a new slipcover for
a chair, Rossano notices it as soon as he
enters the room. He remarks about the
slipcover, praises his wife, gives her a big
hug for making his home more attractive.

“Anniversaries and birthdays are not
forgotten, either,” Rossano smiled. “As a
matter of fact, we celebrate our wedding
anniversary for a whole week. One night,
we have a big party at our house. The
next night, we may go to the theatre. The
third night, we go to a friend’s home. And
finally, on the last night, we have our
own private celebration just by ourselves.”
In spite of seventeen years of married life,
Rossano said he and Lidia seem to have
retained the same romantic feelings they
had for one another the first day they met.

“Above all,” Rossano admitted with a
somewhat sheepish grin, “when a man
feels he is free to flirt, it is surprising how
much of the fun is taken out of it!”

Drawing on his own experience for an
example of this, he told about his trip to
the United States a couple of years ago.

“The studio asked me to go over to
make personal appearances, publicizing
‘Summertime,’ ” he recalled. “They wanted
me to come alone, feeling I’d make a more
romantic impression without my wife.”

Rossano said he discussed the proposed
jaunt with Lidia, and she very wisely left
the decision up to him. “I decided to make
the trip,” the actor continued. “Of course,
in the back of my head, I was thinking,
‘Oh, this is going to be great! Traveling all
around — free — a bachelor.’ ”

Full of anticipation, a gleam in his eye
and a selection of natty new suits in his
trunk, Rossano boarded a liner for New
York. He was going to have himself a
ball! Well, it all started out fine. Every
afternoon, he sipped cocktails with the
loveliest ladies on shipboard. Every eve-
ning, he dined and danced with a different
beauty. He was the charming, beguiling
Latin lover, the darling of the female
passenger list, the romantic Rossano
Brazzi, who left each girl palpitating and
breathless. But what happened to Rossano?

“A week later,” he declared, “I arrived
in New York. Do you know what?” He
sighed heavily. “I was homesick! I missed
Lidia so terribly much, I started phoning
her every night.”

And then, like the well-trained actor
responding to a cue, Rossano asked if
I’d like to meet Lidia. I instantly said,
“By all means, yes!”

He opened the living room door and
called upstairs. A pleasant, easy feminine
voice called down in Italian to say that
she wasn’t properly dressed. Her husband
assured her it didn’t matter. This was a
friend, and female. In a minute, Lidia
appeared, pink and plump and bubbly, in
a frothy, lacy negligee. I explained that
we’d been discussing her marriage. Natur-
ally, I didn’t want to leave without meeting
her. She beamed happily at her husband.

“We have a wonderful life,” she declared.
You could tell at once by her calmness
and by her smile that here was a wife who
understood her husband thoroughly and
enjoyed him thoroughly.

“Mrs. Brazzi, how do you feel about his
leading women? Are you ever jealous, say,
of your husband’s love scenes with them?”

“Nonsense!” said Lidia, much as her
husband had said half an hour before. “I
love his leading women. Rossano is work-
ing now with Joan Crawford in ‘The
Golden Virgin.’ Miss Crawford is sweet
and intelligent. I admire her greatly.”

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The next question was such a bold one,
I all but trembled when I asked it. “What
would you do if you ever found out there
was another woman in your husband’s
life?”

The room was abruptly filled with peal
after peal of resounding laughter. “An-
other woman? Ridiculous!” Lidia was
rocking with merriment. “Oh, he looks!
What Italian doesn’t? But anything seri-
ous?” She was still holding her sides. “Oh,
no — not Rossano! When a man is happy
at home, he stays there. And Rossano is
happy — very happy.”

“Then your marriage has been success-
ful?”

“The best!” said Lidia, her hands in the
air in a typical Italian gesture. “We are
— how you say? — compatible. We have fun.
Rossano brings home little presents to
surprise me. I cook his favorite dishes. In
our apartment in Rome, we are always
planning parties. We go motoring in Italy
— all over. We enjoy doing everything to-
gether.”

Rossano was looking a little wistful. “I
would hate to think what life would be
without my wife,” he declared, his voice
strangely low. “We have grown together.
You might almost say, grown up, together.”

“Then there never could be a separation
or divorce for the Brazzis?”

Rossano shook his head, not only to
make a negative gesture, but to indicate
his wonderment, his puzzlement at such a
question. “You Americans,” he said, “you
do not understand love. Maybe, once in
a while, I flirt. Maybe, even,” with a wink
in her direction, “Lidia flirts. What has
this to do with a happy marriage? Divorce?
Never!”

Rossano drained the last of his drink, as
though to toast his pledge — and the woman
he married who still acts like a bride. An
aromatic scent of tomato sauce and garlic
came floating through the living room. I
mentioned something about dinnertime
and said I’d better be leaving.

K ossano Brazzi saw me to the door. “I’d
like to ask you something,” he said, speak-
ing quickly and quietly. “My studio wants
me to come to America on a personal
appearance tour for the new picture. Do
you think I should go?”

“Without Lidia?”

Rossano nodded. Then he caught my
thought, and the hopeful look slowly faded
from his face. “You are right,” he said,
resigning himself to it once more. “It
wouldn’t really be any fun without Lidia.
Married men,” he said, “they never
learn!”

We shook hands. The door closed softly
behind me and I walked out into the
gray, penetrating London fog. Oddly, I
felt lonely, for no special reason. It had
something to do with the smell of dinner
cooking, with a woman’s warm, rich,
happy laughter, with a feeling I had
that, behind that closed door, two people
in love had already gone into one another’s
arms. I somehow knew that at this moment
Rossano would be kissing his wife ten-
derly, laughing softly down into her up-
turned, worshiping face.

People have said, “How can a woman
like Lidia, who is charming, yes, but who
makes no effort to be svelte or stylish,
continue to hold the love of a man like
Brazzi — a man who, as an actor, is con-
stantly exposed to some of the most beau-
tiful women in the world?”

I knew. Lidia knew. She is always there,
waiting for him, and he knew it. And,
“When a man is happy at home, he stays
there.”

Maybe men never learn. But women do.
I did. The End

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( Continued from page 49)
the world that I had a prison record.
And when I become a father, I’ll have
to pay again someday, because I’ll have
to tell my child the truth about my life,
before somebody else does. Children can
be cruel, and it’s entirely possible that
some child may say, with unintentional
cruelty, “Your father was a jailbird.” I
don’t want my child to be hurt for some-
thing I did any more than is absolutely
necessary.

My child will have to hear it, but I want
him to hear it from me. The toughest part
is going to be trying to explain to him
why I did the things that landed me in
jail. At the time, like any lonely, under-
privileged kid, I had a grudge against the
world. I was going to get away with all I
could. Why not?

My father left home when I was a year
old. My mother, a beautiful young woman,
had to work as a waitress on a split shift
in order to support herself and me. I lived
with my mother, uncle and grandfather
in Santa Cruz, a small town in the foothills
of California.

Sometimes my mother was away during
the daytime, sometimes at night. She did
the best she could, under the circum-
stances. But she had so many problems of
her own. I never felt I could worry her
with mine. Nor did I have much of a com-
panionship with my uncle and grand-
father. They lived in a mental world that
was far different from mine, one I didn’t
understand and which therefore didn’t
interest me.

Like many kids who get into trouble, I
was a lone wolf. I seldom associated with
the other children in school or elsewhere.

I got used to being alone. When my folks
had company, they’d give me some money
to go out and have dinner. I used to go to
the local Chinese restaurant and eat there.
After that, I wouldn’t know what to do
with myself. I knew I was supposed to
keep out of the way at home, so I would
look for things to do on the street to fill
the time.

I’ve often heard the teen-age children
of friends of mine complain about parental
supervision. They say, rebelliously, “My
mother makes me get home by 11 o’clock
every night — even earlier on a school
night! It’s ridiculous! I feel like a dope

when I have to explain to the other kids.
Or even worse, to my date!”

That was a problem I never had. Maybe
I would have rebelled, too, but I still wish
I could make those kids see how wonder-
ful it is to have someone at home who
cares deeply about what happens to them.
It’s the kids whose parents are too busy
or too tired to care when — or even wheth-
er— they come home, who get into trouble.
In a way, you can’t really blame these kids.
As I did, they start looking for some way
to forget their loneliness, for excitement.
Sometimes they find that excitement by
learning to steal.

I began to steal things when I was
just a youngster. I stole only little things,
but it gave me the thrill I needed. I was
getting away with something — or so I
thought. Actually, the punishment was
there, just waiting to catch up with me.

I didn’t dare bring the stolen money
or things home, for my mother would have
raised the roof, and probably would have
called the cops. So I also got into the
habit of staying away from home more
and more. Sometimes, without saying a
word to anyone, I would run away from
home and go up into the Santa Cruz
mountains by myself. While other kids
were closed up in school rooms, I was
hunting for rabbits and fishing for trout.

Those other kids were dumb; I was
smart, or so I thought. I didn’t mind too
much the licking I got when I’d finally
return home. I felt it was a small price to
pay for all that fun. When I returned to
school, I had to bring a note from my
mother explaining why I’d been absent. I
didn’t have the courage to tell my teachers
the truth, and my mother, wanting me
to take the punishment I deserved— and
which might have spared me some of the
really tough punishment I deserved and
got later on — refused to give me a note.
So I wrote my own notes, saying I was
sick, and forged my mother’s name to
them. A habit, a vicious habit, was being
formed. The habit of thinking that nothing
was forbidden, nothing was wrong— except
getting caught at wrongdoing.

What could my parents what can any

parents — do to save their children from
making the same mistakes I made? With
my own child about to be born, I’ve done

Here’s Millie Considine ,

who’s joining her syndicated columnist-
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plenty of thinking about this, and I believe
I know some of the answers.

For one thing, too many parents take
their children for granted. At first they
cluck and fuss over a newborn baby, then
they have to turn back to the everyday
problems of earning a living, paying the
bills, trying to make ends meet. They want
their children to have more than they had.
Again and again I hear parents who are
too busy to spend time with their chil-
dren explain this neglect by saying, “But
I want to give them things— all the things
I didn’t have.”

If those people ever stopped to ask their
kids what they want, chances are the chil-
dren would say, “I want you.”

Too many parents don’t spend much
time with their children. They’re too tired
to play with their children or answer
their questions. I’ve heard lots of my
friends say to their youngsters, “Just take
my word for it and don’t argue. I’ve been
through it and I know a lot more than you
do.” And then these devoted parents add
impatiently, “Now run along and play and
let me read my paper.”

It isn’t enough to tell a youngster that
he can take your word for it. You have
to explain. You have to respect the child’s
opinion, too, and listen to it — really listen.
You’ve got to help him make his own de-
cision; you shouldn’t ask him to accept
yours. When a child is told to “run
along” and is not given what he considers
a fair shake, he feels confused — and rebel-
lious. I know. I went through it as a
child. It was one of the things that left
me with a grudge against the grown-up
world. I’d get their attention, I vowed.
They’d see, they’d be sorry for brushing
me off as though I didn’t matter.

Because of the experience I myself have
had, I have resolved that, when I become
a father, I will spend plenty of time ex-
plaining things to my children, showing
them why they should do certain things.
I know how dangerous it is to set kids free
to try out things for themselves, without
knowing what the consequences can be.

I never cried as a child. I kept most of
my feelings and my problems to myself,
because I didn’t really think anyone cared
about me. It’s a lot easier to help a child
if he learns to talk out his problems. I
want my child to know that he can come
to me with any difficulty and tell me about
it, no matter what he’s done or how bad
it seems. I want him to know that nothing
he might do would ever change my love
for him. We all make mistakes. Once
they’re paid for, we can forget them and
go on. Nobody thinks less of us because
we blundered. All we have to do is own
up to it and get straightened out before a
mistake becomes a way of life.

I think religion is important, too. Very
important. The turning point in my life
came when I was nineteen. I was in prison.
The authorities of the prison decided to
move me; I was a potential troublemaker.

Before I was transferred, the prison
chaplain, Father Kanaly, asked me to
promise that I’d be a good boy, wherever
I went. By then Father Kanaly had won
my respect, simply by treating me as a
person, a human being. I made that
promise — and I kept it.

But I was bitter and despondent, be-
cause I hadn’t been baptized. It was an-
other part of that hunger to belong to
the human race. Father Kanaly under-
stood. He followed me to the Union Depot
in Oklahoma City and asked me if I still
wanted to be baptized. When I said I did,
he baptized me then and there, solemnly
and quietly — in the men’s room of the
railroad station!

As a child, I’d heard about religion and
had gone to church and Sunday school

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school. Such teaching does a great deal of
good for some children, but others, like
myself, must be reached by a different
kind of appeal. I feel that religion should
start at home. It’s certainly true that
parents can live a better sermon than they
or anyone else can preach.

I also feel that young people should
learn to earn money, even at home. Some-
day, they’ll have to go out and fend for
themselves. If a youngster has had too
sheltered a life, he may be afraid to go
out and earn his own living. Even though
I came from a poor home, I wasn’t given
the incentive to work and earn money for
the things I wanted to have and do, so I
began to take.

We can all lose money, but we keep
our abilities, and they improve with prac-
tice. When I have children, I expect to
give them a little money for each chore
they do, such as cutting the lawn. If they
get money by earning it, I don’t think
they’ll ever be tempted to steal.

The mere fact that their parents are
wealthy doesn’t keep children from getting
into a jam. Wealthy parents who pay too
little attention to what their kids do are
just as bad for them as poor parents who
can’t find time to answer their questions.
In some wealthy homes that I’ve been in,
the children have no one to talk to except
maids or nurses.

That’s one thing I wouldn’t want for
my children. Lita and I won’t leave the
entire upbringing of our children to a
nurse or a maid. We’ll be thankful for the
privilege of raising kids.

Lita has been pregnant twice, and has
miscarried twice. But I have great faith
in God’s wisdom, and I hope and believe
that this time her pregnancy will reward
us with a little son or daughter. Of course,
whatever happens is in God’s hands and,
when we say our prayers, we always
add, “Thy will be done.” We know that if

it is right for us to have children, He will
send them to us. Then it is up to us to give
them the kind of life that will help them
develop into people we can be proud of.

The late, great Father Flanagan, of Boys’
Town, once said, “There never was a bad
boy.” Children aren’t born wanting to be
bad. Sometimes they become that way
through too much discipline, sometimes
from too little. But mostly they get that
way because, somewhere along the line,
they’ve been given the feeling, the idea,
that nobody wants them, that they’re not
important. So they become important by
joining gangs, by stealing, by forcing
people to notice them.

I know a man who never disciplined
his son. The boy was all he had and he
was afraid of losing his love. The boy be-
came more and more unruly until finally
the father, exasperated, seized the child
and whacked him. He thought his son
would hate him for what he’d done. In-
stead, the boy came up to him several
days later to say, “I thought you weren’t
like other fathers — that you didn’t care
what I did. I was glad when you spanked
me the other night. I knew I’d misbehaved,
but I thought it made no difference to you.”

There are all sorts of reasons why kids
get into trouble. But the best thing that
can happen to them is to find out, early in
life, that nobody ever really gets away
with anything. The smart people “pay up”
while their debt is small. They admit, to
someone, that they owe a debt to society,
and they set about paying it off the same
way they’d pay any other debt. But the
stupid ones let the debt ride and grow,
until the only way to pay it off is to go
into a kind of personal bankruptcy that
they’ll pay for life — or with their life.

And what’s smart about something like
that, hmmm? The End

BE SURE TO SEE: Rory Calhoun in Columbia's
“Utah Blaine."

Red Hot Iceberg

( Continued jrom page 59)

Her skin was smooth and white, as a
Nordic beauty’s should be. You could see
only her penciled eyebrows above the
sunglasses she was sporting, although it
was October in England and the sky was
gray. Her husband — polite, proper and
British — was looking a little nervous. Ob-
viously he had had previous experience
with his bluntly outspoken wife. He
handed her a menu, his motive plainly to
get her to change the subject. I helped
by inquiring about their marriage.

“We were married seven months ago,”
said dark-haired Tony. “We had the cere-
mony and our honeymoon in Italy. Of
course, Anita was working on her picture,
‘Interpol,’ most of the time. But we had
long weekends to ourselves.”

Anita decided abruptly, as she does
everything, to remove the sunglasses. Her
eyes were as clear and blue as the Baltic.
She leaned forward to join in the con-
versation. “When we were in Genoa, the
reporters and photographers were furious
with us,” she declared. “They complained
we were avoiding them. We never went
downstairs to the dining room or the bar.
We never went to restaurants or night
clubs.” Anita gave me that self-assured
look again. “But why should we? I was
tired. I had been working all day. All I
wanted was to have a quiet dinner with
my husband in our suite. I don’t care to
spend an evening in a bar, drinking with
a lot of dull people I may never see again.”

This Ekberg woman was turning out to
be quite a talker. Scarcely pausing for

breath, she rattled on, “I can’t stand
boring people. They make me so nervous
I could scream or throw china. Why, just
the other night, Tony and I were dining
out. A man we didn’t even know walked
up to our table and had the nerve to sit
down and start a conversation. I just told
him, ‘Will you please get up and leave?”’

Lunch was being served and we drifted
into a discussion of the young couple’s
mutual acquaintances. “I try to be nice to
Tony’s friends,” remarked Anita. “I realize
he has known them for years and if he
wants to see them I feel there’s a reason.
So,” she concluded matter-of-factly, “I
put up with them.”

But how about her friends?

“I never did have many close girl-
friends,” Anita answered. “Today, I don’t
have any. That is, no one whom I keep
in touch with. My old friends in Sweden or
America understand. Marriage hasn’t
changed me. I’ve always been like this.”

Anita said that when she first came to
Hollywood four years ago, she had a few
girlfriends. Sometimes, she and one of
her chums would meet at a restaurant for
lunch. They would chat and laugh away
a good hour. “Then all of a sudden,” Anita
recalled, “I would get up from the table.
I can’t explain it. But I just wanted to go.
I’d had enough.”

This is the characteristic best described
as moodiness. Anita can change, in a split
second, from a jolly companion to a brood-
ing, silent cake of ice. Aware of this pe-
culiarity, she has learned to make quick
exits the moment the mood strikes.

“Sometimes, I just have to get away —
far away from everybody and everything,”
she continued. “In California, I would get
into my car and start to drive. All by
myself. I never knew where I was going
or how long I would stay out. If I saw
a country road that looked interesting, I
would try it. Maybe I came home in time
for dinner, maybe at midnight.”

But now that she’s married, can Anita
Ekberg still do exactly as she pleases?

The blonde, Swedish volcano stared
thoughtfully. “I try to compromise,” she
observed at last. “Today, I say to Tony,
‘I’d like to take a ride in the country.
Will you drive me?’”

“And I always do,” smiled Tony.

In the London papers recently there
had been some nasty gossip about Anita
and Tony slapping each other’s faces in
public. It was time to ask about this.

Tony was the first one to speak up. “It
really wasn’t anything,” he contended,
with typical glibness. “Just bad press.”

But leave it to Anita to blast out with
the truth. “I have a terrible temper,” she
openly admitted. “And so has Tony. Of
course, we clash! We have a good, loud
argument — in public or in private. But
then, after it’s all over, we laugh. Ten
minutes later, we’ve forgotten about it.

“Family fights are nothing,” she went
on. “I’ve heard my mother and father
arguing fiercely. When I was a child, I
sometimes thought the roof was going to
blow off. But now I know their fights
weren’t important. They were just letting
off steam. The proof is that my mother
and father have been" happily married for
thirty-five years.”

That naturally led into a discussion of
marriage. People as explosive as Ekberg
are not usually considered good marriage
risks. But suddenly Anita was looking
very demure and starry-eyed. She said
this was her first marriage and Tony’s
second. She related, a little breathlessly,
that she had anticipated for a long time the
happy day when she would be someone’s
wife. “Every girl dreams of having a hus-
band,” she said. “Cooking for two instead
of one, sorting soiled socks from soiled
shirts and managing a household.”

“My wife’s an excellent cook,” Tony
mentioned at this point. “We may go to
the finest restaurant, where we are served
the most elaborate dishes, and yet they
never taste as good as Anita’s cooking.”

“I cook by intuition,” smiled Ekberg.
“I remember watching my mother in the
kitchen. She never used recipes. Today,
when I prepare a meal, I throw in what-
ever herbs or spices I want. I enjoy cook-
ing. The only thing I hate is washing
dishes. In California, my maid comes only
on weekdays. I do most of my entertain-
ing Saturday and Sunday. By Monday,
there’s not a clean fork left in the house!”

Anita stopped and consulted the menu.
The fruit cup a la mode sounded most
enticing to her. I found myself marveling
that anyone so perfectly proportioned
could eat with such abandon. I still didn’t
know Ekberg. She had changed her mind
long before the dessert appeared.

Meanwhile, we wanted to hear more
about Mrs. Anthony Steel.

“I love it!” Anita beamed. “The first
few weeks, I used to open the closet doors
and just stand there, looking at Tony’s
suits. They made me feel warm and safe.
And Tony is so neat. I marvel at how
everything is hung up carefully.”

“Army training,” Tony put in.

“But I’m not neat,” confessed Anita.
“When I come home, I take off my clothes
and throw them around the room as I go.
Of course, now that I have Tony, I try
to correct myself. But Tony is so metic-
ulous, he’s always ahead of me. I may leave
a sweater on a chair, because I haven’t

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decided whether to wear it or not. By the
time I’ve made up my mind, the sweater
is gone. Tony has found it and tucked it
away in a drawer.”

Anita said she loves Hollywood, even
though they gave her a pretty rough time
when she first went out there. You see,
Anita, native of Malmo, Sweden, began
her career as a model in her own country.
While still a teenager, she won a “Miss
Sweden” beauty contest and a trip to
California. But once there Anita failed to
land the movie contract on which she had
set her sights. She went home, slightly
embittered. But not for long. That’s that
Nordic stubbornness. Never say die! In
less than a year, she turned around and
struck out for Hollywood again.

“I nearly starved to death,” she recalled.
“There are a lot of blondes in Hollywood.”
Anita settled for modeling and became the
curvy subject for hundreds of pin-up
pictures. Finally, the breaks came. Two
small movie roles. And in 1955, a leading
part in “War and Peace.” In 1956, at the
age of twenty-four, Anita won her first
starring vehicle in “Interpol,” with Michael
Wilding and Victor Mature.

“I’m going to be a good actress and a
famous one,” Anita predicted, without the
slightest hesitation. “This is only the be-
ginning. I have sex appeal and I have
talent. Tony and I plan to work in pictures
together. We’re both going to be tre-
mendous successes.”

Tony, who has done very well so far as
a British star, smiled quietly. He took a
more modest attitude toward their mutual
efforts. “We rehearse scenes together now,”
he remarked. “It helps Anita in ‘Interpol.’
And when I’m working and she’s not, she’ll
help me, cueing me on lines. It should
be a fine combination of careers and
marriage.”

Without any warning, Anita suddenly
stiffened. Her eyes were blazing, the black
pupils in the blue orbits enlarging rapidly,
like an angry cat’s. “Fine. If people would
just leave us alone!” she exploded.

I gave her a questioning look.

“Reporters and columnists,” she stormed
away. “They will pick up anything Tony
and I do and try to make the worst out
of it. Our life is not all sensational. We
are human beings. We have problems. Just
leave us alone and we’ll solve them.”

In the next instant, Anita Ekberg was
on her feet. She hadn’t touched the fruit
cup. “I have a two o’clock call,” she an-
nounced abruptly. Then, just as abruptly,
she was smiling, looking as sweet and
gentle as a kitten. “If you want to come
over to the set after you’ve had your
coffee, ’ she informed me, “I’ll be happy
to talk some more.”

I most certainly did want to talk some
more! Why had she flared up like that?
What on earth were her problems? “I’ll be
there in a few minutes,” I assured her.

Fifteen minutes later, Anita Ekberg and
I were sititng on directors’ chairs in a
dimly-lighted corner of the “Interpol” set.
Oddly enough, we immediately began
chatting like two long-separated school
chums. Why the quick change, I won-
dered? In the tavern, Ekberg had behaved
like a Geiger counter, hopping over a
uranium patch. Now, she was so relaxed
and friendly, I hardly recognized her.

Then it dawned. It takes a woman to
know one. The answer was simple: Anita
Ekberg was alone, now. Tony had gone
back to town. Here in the shadows of sets,
props and cables, she was just Anita, the
plain little girl from a plain little Swedish
town. She was not Mrs. Anthony Steel,
talking big to impress, intrigue and excite
her man.

“Yes, we have problems,” Anita con-
ceded. “What new marriage doesn’t? I like
to watch television. Tony says it’s boring.”

“Who wins?” I asked.

“I do,” she chuckled. “And then,” she
continued, “there’s the question of how
I should wear my hair. I like it up. Tony
likes it down. Once in a while,” she winked,
“I let it down.”

Like two females will, we got off on
the subject of clothes, and Anita said she
prefers pastel shades, but picks strong
colors for formals. “I have a mania for
buying things,” she confessed. “I can’t
pass a store window without going in.

“And I like to experiment, as well. In
Rome, I bought a real Cardinal’s hat — the
black kind with the shallow crown and
the big, round brim. I wound a cerise chif-
fon scarf around it. Everybody thought it
was going to look hideous. But it turned
out a sensation!”

Does Tony like her selections?

“Oh, yes!” Anita exclaimed. She drew
her chair closer and confided enthusi-
astically, “And he often brings home won-
derful pieces of jewelry to go with my
new clothes.”

As for Tony’s clothes, she doesn’t inter-
fere. “He’s a perfect dresser,” she stated.
“And you know how all the girls flipped
for him before I got him. That’s why it’s
so wonderful to see how considerate and
devoted he is.”

The topic was getting a little ickie, so we

Color portrait of Rock Hudson from U-l,
color candids by Barbier from Globe;
Jayne Mansfield by Powolny; Rossano
Brazzi by Marshutz; Audie Murphy and
family by Marshutz; Anita Ekberg by
Fralcer.

went back to problems. Anita began think-
ing hard. “The other night, I got home from
the studio late and I was so tired, I just
fell into bed,” she remarked finally. “Tony
was in the room, writing a letter. All I
said to him was, ‘Hello, darling. Kiss me
good night!’ That’s a problem, I guess.
But,” she added philosophically, “there’s
always tomorrow. . . .”

Then there actually weren’t any serious
problems?

Anita shook her head naughtily. “No. . .”

“What are you really like, Anita?” I
asked.

“I’m hot and I’m cold,” she answered
promptly. “I’ve had struggles and I’ve
cried. I’ve been ecstatically happy and I’ve
laughed. I’ve spent miserable, lonely days
and nights and I’ve been depressed in a
crowd. I’m ambitious and I believe in my-
self.” She stopped suddenly. “Why do you
ask so many questions?”

“Because I want to know a lot about
you.”

She gave me that frank, direct look. “I
believe,” she declared significantly, “you
know too much already.”

That obviously was a signal to leave.
But as I rose, I caught a strange expression
on Anita’s face.

“Oh,” she was saying, almost plaintively,
“must you go so soon?”

Unpredictable Anita Ekberg! The End

YOU'LL ENJOY; Anita Ekberg in Columbia's
"Interpol.''

108

Who Needs Hair?

(Continued from page 65)
pouring in. At first, no one could believe
it. It wasn’t a genuine phenomenon, they
decided, watching the bags of fan mail
being carried in, it was a fluke. Time has
proved them wrong. Letters are still
pouring in — and along with the letters,
compliments, proposals, love poems and
gifts. Well-thatched executives and Yul’s
equally well-thatched fellow stars are
scratching their heads. Everyone knew
that Yul Brynner was an actor of tremen-
dous talent, but they never dreamed that
a baldheaded man — any baldheaded man —
could have and even exude sex appeal.

What was behind this unbelievable and
overpowering attraction? Did Yul realize
he had it? If so, to what did he attribute
his appeal to movie-going American
women? After all, let’s look at the record,
people argued. Let’s see who have been
the top favorites over the years. They’ve
all been handsome, and they’ve all sported
a fair head of hair: Rudolph Valentino,
Tyrone Power, Robert Taylor, Cary Grant,
Rock Hudson. And the ones who weren’t
so well endowed, or whose locks began
to thin come forty, all hied themselves
nervously to the toupee artists.

So what did Brynner have? What do
the women who sigh over him think he
has? The best way to find out was to ask,
so we dropped around to Yul’s studio one
day, pad and pencil in hand.

The first one we approached for an ex-
planation of Yul’s appeal was an intelli-
gent, well-paid studio employee. She and
the other girls around the studio are ac-
customed to seeing stars all day, every
day. But they’ve never seen one quite
like Yul. We persuaded her to talk freely
and frankly by promising to keep her
identity a secret.

“The complete and utter fascination Yul
Brynner has for most women can be
summed up in just two words — animal
magnetism,” this bright young lady said.
“It’s a strange combination of almost brute
strength and a subtly gentle tenderness.
He takes complete command when he
comes into a room. When he talks to a
woman, he gives the impression that he
is talking to her alone. He’s polite and
considerate, yet he is completely domi-
nating. He doesn’t look at you. He stares
at you. It’s a strange experience. Those
eyes of his seem to pierce you. Most
women become almost transfixed, as if
they were being hypnotized.

“His appeal is a physical appeal, but he’s
certainly not handsome,” our informant
went on. “His main attraction to the op-
posite sex is in his eyes. They are strong,
yet tender. In addition is his superior, al-
most-but-not-quite-scornful attitude. In-
stead of offending a woman, as it would
in anyone else, in Yul it completely mag-
netizes her.”

Our friend paused and thought for a
minute, and finally summed it up with:
“Yul’s appeal to the feminine world is —
let’s face it — S-E-X. Ask any girl what
she thinks of him, and it comes out some-
thing like ‘grrr’. One thing you can be
sure it is not, and that is maternal!”

The young lady who gave us this frank
explanation is, as you might guess, unmar-
ried. She is in her twenties. And now you
know why she insisted on anonymity.

However, she is not alone. And appar-
ently Yul’s appeal goes even beyond that.
There is a tremendous admiration for him
among his fellow workers, both female
and male. This was well illustrated one
day in the Paramount commissary.

Jerry Lewis is a Yul Brynner fan. On
this day Jerry and his son, Gary, were in

the commissary when Brynner came in.
Jerry and Yul had never met.

As soon as Yul was within handshaking
distance, Jerry nudged son Gary, and both
fell to their knees, bowing low like royal
Siamese subjects. A gag? Sure it was,
and it brought a terrific burst of laughter
from the assembled Paramount workers
as well as Yul himself. And when Yul
laughs, off screen, that is, it is hearty, un-
controlled and honest.

“But you know something,” Jerry told
us afterwards, keeping one eye on Brynner
throughout his entire lunch, “Let’s face it.
This man is the king.”

That wasn’t the first time such a com-
ment has been made. One day, Yul’s
sleek, low-slung sport car slowed down
as it approached the school zone at Car-
mel, California. It was 3:30 and some of
the high school gang were still sitting on
the lawn.

“Hey, get a load of this job coming down
the street,” one of the guys said.

“What is it?” another one asked lazily.
The car, with its two passengers, passed
them, headed toward the ocean front.

“It’s a — Holy smoke, it’s the King,” one
of the girls gasped. “I mean it’s him, it’s
Brynner. It’s Yul Brynner!”

Yul, who was with his wife, the former
Virginia Gilmore, grinned happily, and
waved at his young admirers. While he is
as surprised as his studio at the way he
has caught the public fancy, he is also
as pleased and delighted by it as they are.

This “king,” however, has had any-
thing but a regal life. Not that he’s com-
plaining, he told us later. But he has
worked for his living ever since he was a
twelve-year-old boy in France. And in
case you’re wondering, he’s now 36, his
birthday’s July 11, and he doesn’t try to
bury the figure in interviews. His birth-
place is the Russian area of Sakhalin, an
island in the northern chain of Japan. His
father, though Swiss, was of Mongolian
descent. And his mother was a dark-eyed
Romany gypsy beauty.

In the tradition of both sides of his
family, Yul managed to be on the move
almost all of his life. The Bryners, as it
was then spelled, left the Far East for
France when he was still a boy. He left
school on his own at the age of twelve to
become a part of show business, his talent
being made known to the world first by
means of his guitar playing and ballad
singing. Recently, when Yul returned to
Paris for the filming of “Anastasia,” he
took Ingrid Bergman and producer Buddy
Adler to some of the bistros where he
used to entertain as a teenager. As a
result, Adler decided to make use of Yul’s
musical talents in the film.

Twenty years ago Yul Brynner’s name
was well known in the cabaret circuit of
Paris. His reputation as a lady-killer was
also well known. A lone wolf and a
bachelor, Yul was never known to depend
on restaurants for his dinners. A long list
of the loveliest ladies of Paris was his to
choose from any and every evening as
they eagerly prepared their fanciest foods
in the hope of sharing his fascinating com-
pany. They also hoped to trap him into
matrimony, but no French girl ever suc-
ceeded. Years later, a California girl from
the town of Del Monte became his wife.

Brynner is taller than he seems in pho-
tographs. He measures six feet. His eyes
are a sharp brown and his hair — if he
ever lets it grow again — is a deep brown-
black. Or at least used to be.

The teen-aged Yul enjoyed his carefree
cabaret existence for several years, then
graduated to circus performing and even-
tually to the legitimate theatre, which last

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109

whetted his appetite for a good education.
As with everything he attacks, Yul pur-
sued the education with a vengeance, end-
ing with a degree from the Sorbonne.

He arrived in America in 1941. But,
until his stage triumph in “The King and
I” in 1952, few people knew of his ex-
istence, despite the fact he made one film,
“Port of New York,” back in 1949.

Strangely enough, one of those few who
had seen that film and remembered it —
particularly Yul — was Debra Paget. Six
years later, she was playing Lilia while he
was Rameses in “The Ten Command-
ments.”

“Yes,” said Debbie, “how well I remem-
ber seeing him in ‘Port of New York’!
Even then I was aware of his dominating
magnetism. Of course, I didn’t really feel
his great charm fully until I started to
work with him. And I can tell you it
sure is a powerful feeling. He seems to
take over everything. When he walks on
stage, or even in a room, you don’t watch
anyone or anything else. Yet, despite this
overpowering impact, he has a great deal
of kindness in his eyes.”

Virginia Gilmore is one woman who
appreciates both his impact and his ten-
derness, and has ever since they met.
They’ve been married eleven years and
have a son, Rocky, nine, who looks like
his dad.

To understand Brynner’s completely
un-actor-like approach to life, we must
understand that his ambition is to be a
director first, an actor second. Before
plunging into the stage version of “The
King and I” he had been a highly suc-
cessful TV director, only occasionally
stepping before the cameras himself.

However, he told us that he will con-
tinue to act as long as he can portray
interesting characters. He will not act
just for the sake of acting, and he will not
be a leading man.

Yul Brynner, he of the amazing sex
appeal, does not like love scenes. At least,
not love scenes in the traditional screen
manner. While he has played some of
the sexiest and most different love scenes
ever filmed in his three movies, “The
King and I,” “Ten Commandments” and
“Anastasia,” opposite Deborah Kerr, Anne
Baxter and Ingrid Bergman, the average
male in the audience probably didn’t real-
ize the love scenes were even on screen.
But ask any woman!

Yvonne de Carlo, for one, explains: “It’s
not what he says but what he does. And
also what he says with his eyes. He’s

certainly not what I’d call a handsome
man, but he has that unknown quality
that makes you weak, that makes you
want to run away from him.”

We decided that, armed with all this
information on what makes Yul so irre-
sistible to women, it was time to ask Yul
himself. How did he feel about all this?

“Now that’s a dandy question,” he an-
swered cheerfully, loving every word of
it. “Because I can give you the answer
in one sentence: I don’t play love scenes.
Yes, the secret is in not doing them.”

There is no one who will deny that the
“Shall We Dance?” number in “The King
and I” is one of the sexiest scenes ever
filmed, as well as being one of the most
tender. By Yul’s reasoning it was so be-
cause it was accomplished without the
usual methods.

“When I reached out to ask Deborah to
dance,” he explained, “that gesture, with-
out any words or further action, should
have explained the completeness of the
desire.”

He repeated the motion by slowly ex-
tending his right arm to its full length,
then turned the palm upward, with the
fingers apart and the arm held rigid. Of
course, a certain “look” went with it.
And we agreed that his motion not only
“should have” but did explain the desire.
We saw what he meant. We also began
to see what the women meant.

“This single, simple gesture,” he said
earnestly, “conveys more than ten pages
of dialogue.”

But how come no kiss at all?

“That,” explained Yul, “would have
spoiled it. The impulse for the desire is
the greatest. Once it is fulfilled, that is
the end of it. The impulse is the impor-
tant thing. Besides which, it’s far more
realistic.”

Similarly, in “Anastasia,” he has no di-
rect love scenes with Ingrid Bergman.
That is, there are no clinches. However,
there is no doubt as to the bond of love
between them. Unconsciously, or con-
sciously, they love each other.

“It’s the whole attitude one must as-
sume in playing a part. But that attitude,
believe me, is not physical, but must come
from within. In a way,” Yul went on,
“I’m lucky. I never play myself. And I’d
probably be scared to death if I did. I
must have something to portray, a com-
pletely different character whom I can
study and then deliver.”

He leaned back in his chair, put his arms
behind his head, and seemed to think back

for a minute: Then he bounced forward,
leaned over and said: “Do you know
something? In the four years I played
‘The King’ on stage, every time they gave
me ‘thirty minutes to go’ I got nervous.
And this happened every night!”

It never showed on stage, we noted.

“Aha,” he countered. “But that is the
reason. Because when I stepped on stage,
I was the king — and the king never gets
nervous. I, as Yul Brynner, am limited
in what I can do. However, my imagina-
tion isn’t. As a matter of fact, no one’s
is. Imagination has no inhibitions.”

It is thanks to his imagination, says Yul,
that he has been able to play dominating
men, the King, Pharaoh, and General
Bounine.

He plays all three roles, by the way,
with a shaved head. But Yul doubts
whether the startling appearance of a
man with shaved head has anything to
do with the attraction for the opposite
sex. It is far from planned by him.

“I just try to play each role faithfully.
My own personal enthusiasm about each
character creates a certain amount of
audience enthusiasm, I hope. But the
shaved head is part of the realism in each
role. The King of Siam and the Pharaoh
were required to shave by tradition of
their royal families. And the Russian
regiment to which Bounine belongs al-
ways shaved, too.”

Before “The King and I,” Yul wore his
hair in a very short crewcut, so it was
not a shock for either Virginia or Rocky
when he took razor in hand. And in case
you wondered, he shaves his head when
he shaves his beard each day. He just
makes longer strokes with the razor!

Yul says he plans to keep his shaven
head.

“Hair is just a prop,” he laughed, “like
a uniform, or spear, to play different
roles. Besides, I don’t think a man’s looks
are important. What he thinks and what
he does are what count. Combing hair is
a lot of nonsense for a man. I can’t stand
to see a man in front of a mirror, arrang-
ing his hair like a woman, putting a wave
in it. Ugh!”

In “The Buccaneer,” in which he por-
trays Jean Lafitte, Yul will wear a wig
and a moustache.

The burning question now is, Will Yul
still be as attractive when he wears hair?
Will he still look like a panther? Will
his eyes have the same piercing quality
when they peer out at you from beneath
a wig of thick, dark tresses? Not since
Hollywood was shaken by the great de-
bate as to whether or not Marilyn Mon-
roe meant it when she said she wanted
to do “The Brothers Karamazov” has a con-
troversy so rocked the studio commissaries.

Through it all, Yul remains calm. “I
promise no love scenes,” he said, but
with a kingly leer in our direction, “I do
promise you lots of — what is that word
again? Oh, yes — SEX.”

He sipped his mug of thick black coffee.
His expression took on the distant look
of the king who has closed his discussion
and waits for the subject to depart. He
had one final message, however.

“Remember,” he said, “there is no secret
about love. In real life if a man wants to
show his love, it is easy. He should be
honest — that is all.”

We had one final question. We asked
it wistfully. If there was no secret about
love, then perhaps there was not, really,
any secret about sex appeal. Perhaps it
was something any man could cultivate,
with time, patience, and a good razor.

Yul smiled. “That is, of course,” he
said, “a secret.” The End

WATCH FOR: Yul Brynner in 20th Century-Fox's
''Anastasia.''

Making “/ inastasia ” with Yul Brynner, Ingrid Bergman met the same fate as every
other woman who encounters him, falling under the spell of his peculiar charm

110

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NTY CLIFT’S BREAKDOWNS— The Year’s Most Tragic

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• Announcing the Gold Medal Award Winners 1956-57

• ROCK HUDSON’S LIFE STORY- Final Inst mnt

• A HOLLYWOOD BEAUTY EXPERT. TELLS HOW TO HAVE THE BUSi

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PHOTOPLAY

FAVORITE OF AMERICA'S MOVIEGOERS FOR OVER FORTjY YEARS

MARCH. 1957 VOL. 51. NO. 3

ANN HIGGINBOTHAM, Editorial Director ISABEL MOORE, Editor

NORMAN SIEGEL, West Coast Editor

jules saltman. Associate Editor hermine cantor. Fashion Editor

edwin zittell. Associate Editor Helen limke. Assistant West Coast Edito

Ron taylor. Art Director mathilde iliovici. Assistant Art Director

janet craves. Contributing Editor rocer marshutz, Staff Photographer

MAXINE ARNOLD, ruth waterbury, Contributing West Coast Editors

SPECIAL BOOK CONDENSATION

Flight from Fear (Montgomery Clift), Part I.

.Richard Gehman 3;

ARTICLES AND SPECIAL FEATURES

■Si-

Announcing Photoplay’s Award Winners of 1956-’57 If

Count Your Blessings (Ann Blyth) Ernst Jacobi 32

Eeny, Meeny, Miny, Mo, Who Will Be the First to Go? (Marilyn

Monroe, Jayne Mansfield, Kim Novak) Laura Lane

What Ever Happened to That Nice Couple Next Door?

(Jack Lemmon) Ruth Waterbury

The Rock Hudson Story, Part II Joe Hyams

Half Saint — Half Siren (Debra Paget) Maxine Arnold

He’ll Never Win an Oscar (Cary Grant) Charles Desmond

The Hollywood Story: “Sorry, No Casting Today . . (Bill Phipps)

A Long Way from Home (Rod Taylor) Hyatt Downing 5ft

Profile in Courage (Bob Wagner) John Maynard 58

NEWS AND REVIEW S

Cal York’s Inside Stuff 4

Brief Reviews ^ . 12

Casts of Current Pictures 31

Exclusively Yours Radie Harris 44

Let’s Go to the Movies. . .Janet Graves 86
Hollywood for You. .. .Sidney Skolsky 114

SPECIAL DEPARTMENTS

Crossword Puzzle 17 Readers Inc

Cal York Predicts 34B

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LIVING W ITH YOUNG IDEAS

Becoming Attractions

Undercover Story of the Year

Beauty Begins in the Boudoir

(Natalie Wood)

How to Have the Bustline You Want
Terry Hunt

STARS IN FULL COLOR

10 Fashion a Beautiful Figure 6ft

61 What Every Bachelor Girl Should

“No”! (Dolores Gray).. Jerry Asher 70

62 What’s Spinning? Chris Daggett 74

Needle News 84

65 Photoplay Patterns 94

Montgomery Clift . .

. 37

Lex Barker

. 46

Audrey Hepburn . .

Jack Lemmon

. 42

Jean Simmons

. 46

Glenn Ford

. 46

Tony Perkins

. 46

Stewart Granger . .

. 46

Bob Wagner

. 59

Elaine Aiken

. 46

Van Johnson

. 46

Joan Collins

. 61

Lana Turner

. 46

Marlene Dietrich .

. 46

Dolores Gray

. 70

Mel Ferrer 46

COVER: Color portrait of Jayne Mansfield by Powolny. Jayne is starred in 20th Century-Fox’s "The
Girl Can’t Help It” and "The Wayward Bus.”

Your April issue will be on sale at your newsstand on March 7

PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications, Inc., New York, N. Y. EXECUTIVE,
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Patent Office. Printed in U.S.A. by Art Color Printing Company. Member of TRUE STORY WOMEN’S GROUP.

WHAT A GUY
WAYNE!

It’s understandable that the
fans vote John Wayne top
favorite of the screen.

He’s great in this new
picture based upon the
colorful career of
Commander "Spig” Wead »
the daredevil who actually
parlayed fourteen dollars,
a pair of crutches and
a redhead’s love
into world fame!

il t-G-At presents in METROCOLOR

JOHN WAYNE
DAN DAILEY
MAUREEN 09UARA

" THE WINGS
OF EAGLES ”

co-starring

WARD BOND

Screen Play by FRANK FENTON and
WILLIAM WISTER HAINES
Based on the Life and Writings of
Commander Frank W. 'Spig” Wead
Directed by JOHN FORD
Produced by CHARLES SCHNEE
An M-G-M Picture

This
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Anna Maria Alber ghetti is very happily
flanked by two Martins, Dewey and Dean

INSIDE STUFF

Cal York s* Gossip of Hollywood

Thank You, TV: Both Anna Maria Al-
berghetti and Piper Laurie are grateful
to television for taking them out of the
sweet-young-thing roles. When Anna
Maria played a gunman’s moll and
Piper a highly-charged dramatic role,
Hollywood producers sat up and took
notice. Both girls these days are as
busy as all get out. Piper, who had
planned to go to New York for six
months she had even closed her apart-
ment was tapped for a lead in a Play-
house 90 TV production and had to un-
wrap the silver. For Anna Maria, this
year looks great. She has just lined up
a dozen concert singing engagements,
commencing with the famous Philadel-
phia Orchestra, is weighing several TV
offers and to top everything she may
appear in a bright new Broadway musi-
cal, East Side Story.” These two girls
are going places — fast!

Snapshots: A couple who seem to be on
a perpetual honeymoon are Mitzi Gay-
nor and her business manager-husband
Jack Bean. Whenever they go out these
nights they keep to themselves and usu-
ally are discovered sitting in a corner,
smiling and holding hands. It’s love- ly.

. . . Though Mr. and Mrs. Eddie Fish-
er s ‘ bundle of joy” has been the prin-

Continued

No honeymoon hangover for Mitzi Gay-
nor, Jack Bean. Theirs goes on and on

A atalie If ood, with an “Elvis” pompa-
dour, still enjoys date with Bob Vaughn

An exciting, explosive

NEW STAR!

A true story
movingly,
frankly told in the
Saturday Evening Post,
now it's lived by

TONY PERK/NS-
a great new star
of motion pictures,
the most explosive
young actor
in years . . .
a power- packed
portrayal of a
young man
twisted and trapped
by a world he
never made !

Paramount Presents

starrinq

ANTHONY KARL

PERKINS' MALDEN

Produced by Alan Pakula
Directed by Robert Mulligan
Screenplay by Ted Berkman and Raphael Blau {&

Based on a Story by James A. Piersa/I and Albert S. Hirshberg

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Yul Brynner, with Charlton Heston and
wife Lydia here, makes love with his eyes

Hollywood's “most cooperative ” actress,
Deborah Kerr, stars with family, too

Janet Gaynor, “Seventh Heaven ” girl,
“ mothers ” Pat Boone in “ Bernardine ”

INSIDE STUFF

cipal center of attraction in the Holly-
wood baby marathon, the new offspring
of Mr. and Mrs. Ray Danton (Julie
Adams) should give Carrie Frances a
run for her money. . . . When Natalie
Wood turned up recently at a Holly-
wood party she was wearing an Elvis
Presley pompadour. Now we wonder
where she got that idea.

Bring Back the Clinches: Is Yul Bryn-
ner destined to suffer the fate of Roy
Rogers — never to be allowed to kiss the
girl? Maybe we’re old-fashioned, but
we wish he’d been allowed to give In-
grid Bergman a kiss in “Anastasia.”
Yul is one man who really knows how
to make love, off screen as well as on.
Never for a moment does he take his
eyes from a girl and he really listens to
what she has to say. In a town where
most actors are constantly stealing side

Continued

glances at themselves in the mirror or
looking beyond the person they are ;
with to see who else they want to
charm, Yul’s technique is not only re- ]
freshing but positively atomic.

Ad Lib: Nine-year-old Melanie said it
when her mother, Deborah Kerr, was f!|
presented with a golden medallion in
the form of a halved apple by the Hol-
lywood Women’s Press Club, for being
the year’s most cooperative actress:
“Will they give you the other half next
year. Mummy?” . . . Peter Lorre said
it when a friend ran into him early one
morning: “I guess it’s not fair for any-
one to meet me on an empty stomach.”
... A catty friend said it when the Liz
Taylor-Mike Todd tomance was being
discussed: “I remember when she was
in love with her pet chipmunk.” Meow!

Continued

This is the

TOUGHEST
YOUNG
GENERAL
IN THE
U.S.ARMYS

TOUGHEST
YOUNG
GENERAL
INTHE
U.S.ARMY ;

Irt/hy c/o
f/hey ca// h/'m
Tronpanfs"'

Susan Hayward and Kirk Douglas
are having a“Top Secret Affair”

and it’s the laughiest war-of-the-sexes
since comedies grew up !

PRESENTED BY WARNER BROS^P^

Written by ROLAND KIBBEE and ALLAN SCOTT • Produced by MARTIN RACKIN . MILTON SPERLING Supervising Producer . Directed byH.G. POTTER

In the stork race, the Ray Dantons
(Julie Adams) have produced a winner

from time to time. We are certainly
delighted to have her back with us!

A New Trend: If things keep on the
way they’re going, there will soon be
a lot of unemployed horses in town.
The studios are still making “horse
operas,” but without the horses. Out on
the U-I lot, they’re readying an oil west-
ern, “Joe Dakota,” to co-star Luana
Patten and Jock Mahoney, and there’s
nary a horse in it. Then there’s Colleen
Miller’s new picture, “Pay the Devil.”
The day we visited Colleen, we couldn’t
help commenting on how strikingly
pretty she looked in a handsome pair of
black jodhpurs and a silk shirt. But
she confided to us that she doesn’t once
go near a horse. “I just talk about going
or having been,” she said.

Colleen and husband Ted Briskin,
incidentally, have bought a house in
Hollywood, which they’ll keep in addi-
tion to their apartment in Chicago,
which is where Ted has his business.
Colleen plans to make Hollywood her
home when she’s playing in the movies
and Chicago her home when she’s play-
ing Mrs. Ted Briskin, happy wife and
mother. (Continued on page 92)

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INSIDE STUFF

Continued

Tired of Criticism: Nick Adams is tak-
ing to heart the criticism he’s been re-
ceiving about latching on to the coat-
tails of famous personalities. When he
was asked to test with Pat Boone for a
role in “Bernardine,” Nick avoided
having his picture taken with Pat. “If
people saw my picture with him, they’d
think I’d deserted Elvis. I’m tired of
this criticism. I’m very fond of Elvis
and I don’t want to hurt his feelings.”

And speaking of “Bernardine,” Janet
Gaynor, who has been off the screen
since 1939’s “The Young in Heart,”
plays Pat’s mother. Janet, who. of
course, is the wife of Adrian, the well-
known Hollywood clothes designer, has
no plans for making a comeback, but
hopes to play roles that appeal to her

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)/)/ GOOD ^ FAIR A — ADULTS F — FAMILY

For fuller reviews, see Photoplay for the months
indicated. For reviews this month see contents page.

k^k^k^ ANASTASIA — 20th; CinemaScope, De Luxe
Color: Brilliant acting by Ingrid Bergman and
Helen Hayes enlivens a drama of Russian exiles in
Paris. Adventurer Yul Brynner grooms Ingrid to
play Grand Duchess. (F) January

kVkV AROUND THE WORLD IN 80 DAYS-;
Todd; Todd-AO, Eastman Color: Colossal! Yet its
light and entrancing. Stuffy Britisher David Niven
does the globe-circling jaunt on a bet in 1872, with
Mexico’s great Cantinflas as his valet, big stars
in bit parts. (F) January

V'V'V' BABY DOLL — Warners: A dazzling title-
role job by Carroll Baker speeds up a leisurely, j
sex-loaded study of Southern eccentrics. As the
backward bride of Karl Malden, she’s wooed by
Eli Wallach, Karl’s enemy. (A) February

EVERYTHING BUT THE TRUTH — U-I,

Eastman Color: Amusing but meaningful comedy of
politics. Schoolmarm Maureen O’Hara and colum-
nist John Forsythe back little Tim Hovey when the
kid’s honesty starts a scandal. (F) January

k'kW FRIENDLY PERSUASION— A.A., Del
Luxe Color: Warmth, gentle humor illuminate thefl
story of a Quaker farm family in Civil War days.fl
Gary Cooper. Dorothy McGuire are parents of
teenagers Tony Perkins and Phyllis Love and little
Dick Eyer. (F) December,

/VW GIANT — Warners, WarnerColor: Sweep-
ing tale of a turbulent marriage. Settling in Texas
as rancher Rock Hudson’s bride, Liz Taylor has
trouble adjusting to her new home. Cowhand James
Dean strikes it rich in oil. (F) January

/W GIRL HE LEFT BEHIND, THE— Warners:]
Sprightly story of today’s Army. Mama’s boy Tab
Hunter is a reluctant draftee; Natalie Wood, his
sensible girlfriend. (F) January

kVW GREAT AMERICAN PASTIME, THE- ;
M-G-M: Bright family farce gets Tom Ewell into
a peck of trouble when, for his young son’s sake,
he agrees to manage a Little League baseball team.
Anne Francis is his disapproving wife; Ann Miller, ‘
a comely widow. (F) February

kWV IF ALL THE GUYS IN THE WORLD . . .

— Buena Vista: Enthralling, heartening interna-
tional film (titles in English). “Ham” radio oper-
ators and fliers of several nations save fishermen
stricken at sea. (F) January

V'V'V' JULIE — M-G-M: Taut, hard-driving sus-
pense movie. Fleeing death threats from her in-
sanely jealous husband (Louis Jourdan), Doris
Day returns to airline-hostess work. Barry Sulli-
van’s her loyal friend. (F) December

MAN IN THE VAULT— RKO: Mild action
yarn makes locksmith Bill Campbell the unwilling
tool of a racketeer in a hank-looting deal, with
Karen Sharpe as Bill’s girl. (A) January

kV PUBLIC PIGEON NO. 1— RKO, Techni-
color: Red Skelton's showmanship lifts a creaky
farce about a timid soul taken in by con-men.
Janet Blair’s his loyal sweetie. (F) January

kVW RACK, THE— M-G-M: Deeply under-
standing close-up of an officer on trial for collabo-
ration in a Korean prison camp. Fine acting by
Paul Newman, as the defendant, Walter Pidgeon
his father, Anne Francis, his sister-in-law, Edmond
O’Brien, defense attorney. (A) June

/V REPRISAL! — Columbia, Technicolor: West*;
ern with good intentions. Hiding his own Indian

Continued

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all the old dirt, make-up and
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when you tissue it off that you
are removing clogging impuri-
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Soap doesn't go deep
enough to do it. Some liquid
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not effective enough to lift out
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)/)/ GOOD ^ FAIR A — ADULTS F — FAMILY

Continued

ancestry, Guy Madison buys land near a town where
Indians are persecuted. (F) January

kVV' ROCK, PRETTY BABY— U-I: Lots of rock
’n’ roll, attractive young players give interest to a
story of teenagers’ problems. John Saxon, encour-
aged by Luana Patten and Sal Mineo, struggles to
put his band across. (F) February

yy RUMBLE ON THE DOCKS— Columbia: Jun-
ior version of “On the Waterfront.” Promising
newcomer James Darren, as leader of a teen-age
gang, gets involved with a union racketeer, over
the objections of his young sweetheart (Laurie
Carroll). (F) February

/V SECRETS OF LIFE— Buena Vista, Techni-
color: Interesting but patchy documentary of birth
and the fight for survival among plants, insects,
water creatures. (F) December

j/W SHARKFIGHTERS, THE— U.A.; Cinema-
Scope, Technicolor: Brisk action picture shows
Victor Mature leading risky World War II ex-
periments off Cuba, to find a shark-repellent. With
Karen Steele, James Olson. (F) December

yyy SILKEN AFFAIR, THE— RKO: In a gentle
worm-that-turns story, accountant David Niven
creates havoc by juggling the hooks, led on by
French model Genevieve Page. (A) January

/VW TEAHOUSE OF THE AUGUST MOON,
THE — M-G-M; CinemaScope, Metrocolor: Quaint,
charming comedy of U. S. occupation forces in
Okinawa. Officer Glenn Ford’s led astray by inter-
preter Marlon Brando and lovely geisha Machiko
Kyo. (F) January

TEENAGE REBEL — 20th, CinemaScope:
Fresh, heart-catching study of a parent-teenager
relationship. Wed to Michael Rennie. Ginger
Rogers tries to win over Betty Lou Keim, resent-
ful child of her first marriage. (F) November

/VW TEN COMMANDMENTS, THE— Para-
mount; VistaVision, Technicolor: Overwhelming
DeMille epic of Biblical times, forcefully acted by
Charlton Heston as Moses, Yul Brynner as Phar-
aoh, many other stars. (F) January

V'/yy THREE BRAVE MEN— 20th, Cinema-
Scope: Arresting, realistic drama casts Ernest Borg-
nine as a long-time Navy Department employee
suddenly suspended as a “security risk.” Ray Mil-
land's his lawyer. Borgnine’s wife and children
are also affected. (F) February

yyy UNGUARDED MOMENT, THE- U-I, Tech-

nicolor: Serious, though a hit sensationalized.
When schoolteacher Esther Williams accuses stu-
dent John Saxon of attempted attack, only detec-
tive George Nader helps her. (A) December

They keep you calm, collected and protected, on “those days.”

These sleek panties have a moisture-proof panel, pins and tabs inside;
they conceal... never reveal! Rayon tricot, $1.35. Others, $1.50 to
$2.50. Sanitary Brief (left), has moisture-proof panel, no pins or
tabs, $1.75. White or pink; small, medium, large, extra-large.

Prices slightly higher on the West Coast

yyy WESTWARD HO THE WAGONS!— Buena
Vista; CinemaScope, Technicolor: Familiar West-
ern sparked up by good details, Fess Parker as
doctor-scout of a wagon train. (F) January

yyyy written on the wind— u-i, Tech-

nicolor: Flamboyant close-up of a wealthy Texas
family. Boh Stack’s excellent as the irresponsible
heir, who marries Lauren Bacall. Rock Hudson
plays the steady friend; Dorothy Malone, Bob's
reckless sister. < A) February

yyyy you cant run away from it—

Columbia; CinemaScope, Technicolor: Sparkling
musical teams runaway rich girl June Allyson with
debonair reporter Jack Lemmon. Nice combo of
laughs, sentiment, song. <F) December

When

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^ • 1

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RHONDA FLEMING co-starring in

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PHOTOPLAY CROSSWORD PUZZLE

Across

1. Star of 29 Across
8. Mexican-American in
“Giant” (init.)

10. “• Boom!”

13. Margaret or Pat

14. “The Left Hand of — ”

16. “Rock, Pretty Baby” was

once titled “The Living
I”

18. Temperamental tenor
< init.)

19. “The — of Texas” (song)

22. Part of “Julie” was shot —

Hollywood

24. Nat alie Wood began acting
when she was a — child

26. Heroine of “The Wings ol
Eagles”

27. “The Silenl World” locale

29. “Man — the Vault”

30. Promoter in “Anastasia”

32. Mrs. Anthony Steel

36. “Bundle of Joy” star

37. British actor Patrick

38. Source of Jett Rink’s
wealth

39. Films’ Hans Christian
Andersen

40. “I Can — , Can't I?” (song)

42. Foreign cars favored hy
young Hollywoodites

43. Top English star, Grace’s
movie prince (init.)

44. “ — Greater Love” (song)

45. Psychiatrist in “The Tea-
house of the August Moon”

( init.)

46. Hero of “The Solid Gold
Cadillac” (init.)

48. “ — Man” (song)

49. Mrs. Melcher (init.)

50. Gloria Grahame's ex, Nat-
alie Wood’s date (init.)

51. Elvis’ film brother (init.)

52. “There Is a — in the
Town” (song)

53. Rita's ex-father-in-law

56. In “Four Girls in Town"

60. Section of country that was
locale of “Miami Expose”

61. "Tea and Sympathy” had
two

63. Milzi Gaynor is Mrs. —

64. “The — Affair”

67. Lyric-writer Gershwin

68. Mrs. Harry James (init.)

69. —, — World (on TV)

70. “Zarak” star

71. Haver s husband

73. He lost a weekend, won an
Oscar

74. “Giant” star (init.)

75. “The Last Wagon” star

Down

1. Blazed into Mt. Sinai in a
current epic

2. “Ready, Willing and — ”

3. “ — ■. Smith Goes to Washing-
ton”

4. “The Trail of the Lonesome

5. “ — My Love” (song)

6. Prejudice was the — - in
“Reprisal !”

7. Mrs. Dewey Martin

8. Simmons’ spouse (init.)

9. “With Plenty of — and
You” ( song)

11. “No Man of — Own”
vers to Crossivord Puzzle on pug<

12. British musical and
dramatic star ( init.)

15. Jett Rink in “Giant”

17. In "The Wings of Eagles'

20. “ — Can’t Run Away from
It”

21. Johnnie Ray's specialty

23. Dr. McNulty’s wife

25. Grace — over Monaco

28. Debonair Latin-type movie
veteran ( init.)

29. Locale of “The Quiet Man”

31. Susan Hayward's girlhood

chums might call her this

33. Early Monroe hit

34. “ — Little Indians”

35. Rita's ex

38. No spectacle of ancient
times is complete without
one

40. “Guys and Dolls” creator

41. “ — Times”

46. “Love Me Tender” star

47. Playing the Bible's Joshua

53. Initials of 32 Across

54. It often takes — to make the
grade in movies

55. “Broken — ”

57. “Nightfall” star (init.)

58. Film beloved of 47 Down

59. Every star is — to win an
Oscar

61. The Ladds are a close —
family

62. Among Ava’s costumes in
“Bhowani Junction”

64. Olivier, Gielgud. Hardwicke

65. Song associated with famous
comic’s wife

66. “All About — ”

71. Royal father in “Alexander
the Great” ( init.)

72. Initials of 39 Across
98

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Announcing
PHOTOPLAY’S
Award Winners of
1956 -’57

• It’s February 7, 1957. Circle the date in gold, for Warner Brothers release. Rock Hudson, starred in that
this is the night of the Photoplay Gold Medal Awards, Texas epic, wins Gold Medal acclaim as male star of the
annual honors given to players and pictures chosen by year, his popularity already boomed by his own studio’s
you, the Photoplay readers. At the banquet in the Crys- “All That Heaven Allows” and “Never Say Goodbye.” Also
tal Room of the Beverly Hills Hotel, genial m. c. Ernest for U-I, lie’s now in “Written on the Wind” and next in
Borgnine leads up to the Award presentations. And here “Battle Hymn,” then in M-G-M’s “Something of Value.”
they are. Among 1956 movies, the Gold Medal goes to Columbia’s exquisite Kim Novak is the feminine Gold
George Stevens’ production of Edna Ferber’s “Giant,” a Medal star, for “Picnic” and “The ( Continued on page 82)

New stature wins Rock Hudson a Gold Medal

Kim Novak matches Rock in appeal and skill

Special Awards

buddy adler: for his foresighted
handling of new talent and outstand-
ing use of star talent. The brilliant
20th Century-Fox producer, a winner
with the Gold Medal picture of last
year, “Love Is a Many-Splendored
Thing,” proved in 1956 that he has
a unique flair for making the most
of both established players and new-
comers. His “Bus Stop” not only
gave Don Murray a striking head
start in pictures, but gave Marilyn
Monroe a chance to display the
tenderness and intuitive knowledge
of humanity earlier out-dazzled by
her widely famed physical charms.

cecil b. demille: for the creation of
one of the screen’s greatest emotional
and religious experiences. “The
Ten Commandments” brought to its
climax the producer-director’s forty-
three-year, seventy-film career. As
he celebrated his own seventy-fifth
birthday, it was Mr. DeMille who
provided the finest gift — for motion-
picture audiences. To his known
mastery of spectacular screen effects
and surging action, he added his
heartfelt reverence, to make “The
Ten Commandments” a deeply per-
sonal film translation of the Bible’s
chapters about Moses and the Exodus.

BARBARA Stanwyck: for meeting with
simplicity, honesty and superb crafts-
manship the challenges of leading
roles in seventy-five films; for having
put her film experience to unselfish
use, by giving wise, sympathetic
counsel to newcomers in the motion-
picture industry. Incredible as it
seems, Barbara has actually achieved
this imposing total of pictures, cele-
brating her “diamond wedding” to
movies last year with “There’s
Always Tomorrow.” Such young
players as that film’s Gigi Perreau
will testify to Barbara’s unfailing
helpfulness toward all new talent.

Michael todd: for the development
of Todd-AO and his thoroughly de-
lightful use of it in “Around the
World in 80 Days.” The introduc-
tion of the new Todd-AO process in
“Oklahoma!” was immediately
hailed by audiences across the coun-
try. Opening in 1956 and running
gaily on into 1957, “Around the
World in 80 Days” fills the generous,
curved screen with a wealth of beau-
tiful scenes, all telling a continu-
ously amusing story. Once identified
mostly with stage presentations,
Todd entered the movie medium
with fire and with high imagination.

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Address your letters to Readers Inc., photoplay,

205 E. 42nd Street, New York 17, New York. We
regret that we are unable to return or reply to any letters
not published in this column. If you want to start a fan

club or write to favorite stars, address them at their studios.
For list of studio addresses, . see page 80. — Ed.

READERS JTVG...

SOAP BOX:

Last year I attended a convention at
the Hotel Conrad Hilton in Chicago. Dur-
ing my stay there, they were shooting
"The Harder They Fall” with Humphrey
Bogart. As I walked into the hotel lobby
one day. I was asked if I wanted to be in
a mob scene. I agreed. We were called
for action about five times, and then it
was finished. Later I walked over to
Mr. Bogart and had a lovely chat with
him. He was so friendly and full of per-
sonality.

When the picture came to Baltimore I
went to see it, and sure enough, there I
was, plain as day. I wrote a letter to
Humphrey and told him how much I en-
joyed watching the film, and how we will
miss him. Humphrey was seriously ill
at St. John’s Hospital in Santa Monica,
California. He was happy to hear from me
and was anxious for mail from his friends.

Mrs. Lilyan Fox
Baltimore, Maryland

A fan’s tribute

I have just seen “Teahouse of the August
Moon” with the brilliance of Marlon
Brando's acting. When the public first
noticed this versatile young man, he was
universally acknowledged as wonderful.
Now, what with Dean and Presley, Brando
has been temporarily obscured. I wonder
if he should have stayed in the spotlight by
strumming a guitar and acting like an
Apache! It seems to me that the American
audience must make a choice as to whether
it wants a memory (Jimmy), a hip-swing-
ing singer (Elvis), or real, durable acting
talent (Marlon). Because when the mem-
ory begins to fade and the guitar rots,
Brando, with all his ability and magnetism,
will still thrill us.

Jane Gordon

Flushing, New York

Lots of us younger folks would like to
read about some of the stars our mothers
saw and loved — people like Mary Pickford,
Gladys George, Fay Wray, Pearl White,
Irene Castle, the Gish sisters, and many
more. So little is printed about them. I
wonder if you could have something on
these people in their youth the way our

parents saw them, and maybe a story on
what they are doing now. How many of
them are still alive?

Beatrice Seekins
Swanville, Maine

What do you think, readers? Would you
like to see stories about movie old-timers?
If you agree with Beatrice, let us hear from
you about it. — Ed.

When Victor Mature was making a movie
here in Kenya, he said that he stayed in a
broken-down old shack of a hotel. For
his information, it happens to be one of
the most modern in East Africa.

Cpl. Jack King
Kenya, East Africa

I think there should be more written
about foreign stars in your magazine. I
enjoy such people as Brigitte Bardot,
Michele Morgan and Eleanora Rossi-Drago,
and would like to read stories on them.
I am also curious as to what has become
of actors like Ricardo Montalban, Elaine
Stewart, and Carol Ohmart, who suddenly
disappeared into the gloomy Hollywood fog.
I hope they emerge soon.

Daniel Camino
Lima, Peru

Elizabeth Taylor makes me sick! She
changes husbands like the styles of her
dresses. She is a child who wants some-
thing, and when she gets it she doesn’t
want it any more. If she isn t mature at
twenty-four, with her assorted children and
husbands, she never will be.

Naturally we all get tired of marriage
at times, but that doesn’t mean we should

Liz: Always the child bride?

go out and get divorced and find other men
to marry. I don’t think Liz tries hard
enough to make her marriages stick.

M. C. Clements
Boswell, New Mexico

Nearly every time I see a movie about
Canada it has to do with people living in
log cabins twenty miles from nowhere, and
trapping furs for a living. Why doesn t
Hollywood take a good look at the Canada
of today? There are a few of us who live
primitively, as our forefathers (and yours,

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Continued

too) did, but nowadays tbe average
Canadian is just like the average American.
Our cities and towns are every bit as nice.
We have television just as the United
States does. But judging by the movies
you would think we all lived in the wild
north country and ate raw fish as a daily
diet.

Alana L. Wilson
Vancouver, British Columbia

I have always enjoyed Lucy Marlow, but
see so little about her. She is a fine actress
and is extremely pretty. They tell me
that she is married to a Yankee ballplayer, j
I imagine that their life together is very
interesting. Can you picture the Holly-
wood Bowl and the Yankee Stadium side hy
side? What a combination!

Miss Lo Franco
New York, New York

There are a few up-and-coming young ac-
tors who deserve special mention for their
performances and their possibilities as im-
portant stars. John Kerr, for instance (“Tea
and Sympathy”). And Perry Lopez (“Steel
Jungle”). I am also impressed with Phyllis
Kirk, John Saxon and John Cassavetes. I
think we will be hearing more about them.

Lana Bochner
New York, New York

The guys in our frat recently saw a doll
— a real doll — on television and in the
pages of a TV magazine. Her name is Judy
Busch, and she’s been signed by 20th Cen-
tury-Fox. We flipped. We really flipped.
She was the kind of girl you could intro-
duce to your parents with a straight face.
Sex appeal was there, but not shouting.

A face — beautiful, and a real addition to
Hollywood. And she’s only about eighteen.
Poise she has and talent— we heard her
sing. Our frat has voted her The Girl Most
Likely to Make the Others Look Sick.
Yumm!

Rod Bannter
Bill Dennis
Detroit, Michigan

We like Sterling Hayden. He’s a wonder-
ful actor, and you guys know it. If you
weren’t so stubborn you would give him big-
ger and better roles. We’re fed up with
movies when you can’t tell an excellent
actor when you see him. Sure he plays in
unfamous pictures. But it’s because you
won’t give him a chance to prove himself.
None of you! Give him a real role and try
him out. You won’t regret it, we promise
you. How about it, Photoplay?

Diane Van Lopik
Joan Young
St. Louis, Missouri

We agree with you, Diane and Joan, that
Sterling has not had as much of a chance to
prove himself in good pictures as some other
actors — hut Photoplay does not select the
stars to play in the movies. We suggest that
you write to the studios about Sterling , for
they are the only ones who can cast him in
the kind of films you want to see. — Ed.

Some months ago you printed a letter of
mine in which I praised Peter Hanson. I
thought you would like to know that Mr.
Hanson personally called me on the tele-
phone to thank me for my interest. He
looked up my number in the directory, and
I didn’t really believe it was he until I
cross-examined him for a full ten minutes
about his life and career. When I finally
realized that this was actually Peter Han-

Continued

OUNG STRANG

my father know me?

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seventeen isn't an
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Continued

son speaking to me, he wasn’t at all bothered
that I had been doubtful, and completely
amazed that I knew so much about him.

E. B. Bell

North Hollywood, California

Elvis Presley is the most
In my hook anyway.

No matter what the critics boast,

I think he’s here to stay.

What better boy would buy his folks
A home with pool and all?

So why make all those nasty jokes?

Let's get on the ball !

His Cadillacs, which cause a rage,

Are one of his life’s dreams.

And when he comes upon the stage
The building rocks with screams.

His singing ranks above the rest,

His styling is unique.

His looks are certainly the best,

His career is at a peak.

His sideburns, which distinguish him,

Are romantic, yes indeed.

For all the folks who slander him
Psychiatrists are in need!

A true love yet has he to find.

But when she comes along
He’ll keep her only on his mind.

To Elvis she’ll belong.

Betty Baker
Divernon, Illinois ■

I enjoyed the story on Elvis Presley very '■
much. 1 haven’t laughed so much since he
was last on Ed Sullivan’s show. Earl Wilson, 1
in your article (January, 1957), says, i
“Elvis pronounced help ‘hep’ in the en- 1
chanting way that most Southerners do.” |
Enchanting! Doesn’t he mean illiterate? I
English is supposed to be Elvis’ favorite J
subject.

Another thing: If Elvis were to “plop” in
my lap as he did in Debra Paget’s lap, I
would have a few words to say on this boy’s :
supposed good manners.

Edna King
Lubbock, Texas

Several years ago, when I was fourteen,
and Tab Hunter first began to appear in
movies, I couldn’t stand him. I couldn’t
stand his name, his looks or his attitude.
Things continued this way until one day,
about a year and a half ago, I went to see
“Battle Cry.” It was a great film, but the
biggest surprise was Tab. For the first
time he was acting. He wasn’t Tab Hunter,
movie star: he was Danny , the young boy
who got mixed up with an older woman. I
came out of that theatre a Hunter fan for
life, and I waited eagerly for Tab in bigger
and better roles.

So what happens? His studio co-stars
him with Natalie Wood in two so-so movies,
and calls him and Natalie “Hollywood’s
Newest Teen-age Love Team,” or some-
thing like that. This, when Tab is all of
twenty-five years old !

Only once, after “Battle Cry,” did I see
Tab in a good role, and that was on a tele-
vision. He starred in “The Jim Piersall
Story” on “Climax!” and did a superb job.
His studio is mad, mad, mad not to star
Tab in the movie version of Piersall’s life-
I just don’t get it. Why are they doing this
to him? He is good; they’re blind not to
see it.

A Reader

Pattonslnirg, Missouri

I have been reading of Debra Paget’s
seventeen TV sets and jewel-studded car.

Continued

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With so much suffering in the world, I
think she would be ashamed. Thank good-
ness there are stars like Danny Kaye and
Eleanor Powell who do charitable work and
share their fortune with others.

Barbara Dragf.r
Chippewa, Michigan

QUESTION BOX:

In an old snapshot of Debbie Reynolds,
which was given to me, I notice a marking
on her neck which looks like a scar. Is this
really a scar, or is her neck peculiarly
wrinkled?

Marie Karacas

San Francisco, California

Neither. There is nothing wrong with
Debbie’s neck. What you saw may have
been a momentary fold or wrinkle, but it
is not peculiar. — Ed.

Did Grace Kelly and Celeste Holm do
their own singing in "High Society”? Did
Rita Moreno do her own singing in “The
King and I”?

J. P.

Pittsburgh, Pennsylvania

Yes to all three. — En.

I should he happy if you would settle an
argument between a friend and me. I say
that Stephanie Griffin is British, and has ap-
peared as Clifton Webb’s secretary in “The
Man Who Never Was.” My friend says she
is American and is a music-hall entertainer
in that film. Which of us is right?

Jose Mario Caycedo-Garces
Cali, Colombia

Neither. Stephanie Griffin did not appear
in “ The Man Who Never Was.” You are
probably thinking of Josephine Griffith, who
appeared as Clifton Webb’s assistant in the
film. Josephine is British. — Ed.

My friend says John Kerr’s name is pro-
nounced “cur.” I say it is pronounced “car.”
Who is right?

Peggy Scholz
Newark, New Jersey

You are. — Ed.

How many wives has Lana’s husband, Lex
Barker, had?

T. Derrick Denner
Oxford, England

Two before Lana: Constance Thif.rlow and
Arlene Dahl. — Ed.

Some of my friends saw' Elvis Presley
in “Love Me Tender.” They claim that it
was in color, but I saw it in black and
white. My friends also say that in the film
Elvis died in a train wreck. I saw him die
in a gun fight. Were there two versions of
the picture or is someone here making a
mistake? Were any of the tunes, other
than the title song, recorded?

Ginger Hunter
Kingston, Tennessee

Your friends have made a mistake. There
was one version of “ Love Me Tender,” in
black and white, in which Elvis died in a
gun fight. Only the title song was re-
corded.— Ed.

I have just seen “The Vagabond King”
and was very much impressed with the
wonderful voice of Oreste. Would you
please print some information about him?

D. Westbrook
Kenmore, New York

Oreste was born in Hambrun, Malta, on
Continued

Who was this
Mister Cory. . .
that men feared . .
or followed?

And what was
the secret he had
buried, deep in the shadows
of Sangamon Street?

zfycfa'te dlaWwnp

TONY CURTIS • MARTHA HYER
CHARLES BICKFORD • KATHRYN GRANT

with RUSS MORGAN Directed by BLAKE EDWARDS Screenplay by BLAKE EDWARDS Produced by ROBERT ARTHUR

READERS INC.

Continued,

July 26, 1926. He has sandy hair and bit
eyes, is 5’ 10" and weighs 175 lbs. He
unmarried. Oreste now lives in Hollywood
but Paramount has no immediate plans j<
this singer’s future films. — Ed.

Would you please set me straight o
something Natalie Wood's real name?
have seen it printed in various forms.

Nadine Vieira
Jacksonville, Illino
Natalie was born Natasha Gurdin. E

In reading over the names of the stai
listed in the Gold Medal Awards Ballot f<
1956-1957, I was unable to find the name t
James Dean. Why?

Lucy Miracle
Pontiac, Michiga
Photoplay felt that, though Jimmy
performance was excellent in “Giant.” tin
year’s Gold Medals should be limited ]
living players. In recognition of Dean
great contribution to the movie industr
Photoplay awarded him a posthumou
Gold Medal for 1955-1956.— Ed.

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born on April 3; Doris was also.

Lois Ardis
Bridgeton, New Jerse

CASTING:

My eleventh grade English class has jus
finished "Ethan Frome” by Edith Whartoi
We think it would make a great movi
with Gregory Peck as Ethan, Kim Nova
as Mattie, Bette Davis as Zeena and Do
Murray as Ned Hale.

Nancy Weber t
Rockford, Illino

I understand that “South Pacific” wi
soon be filmed in the Todd-AO process. 1
think that Judy Garland would be perfet
in the Mary Martin role.

Nancy Wall
Belleville, Michiga

Some time ago I read the best selle
Lucy Crown,’ by Irwin Shaw. Now tlia
Hecht-Lancaster has purchased it, I wouf
like to suggest Lana Turner, Ray Millan<
and Tony Perkins in lead roles.

Lana has been neglected in a bad wa
recently. I think that talent such as her
must not be wasted. There are so man
excellent stories for this fine actress, and i
she gets the right one, she may win th
Oscar she missed in “Flame and the Flesh
and her very excellent motion picture, "Th
Bad and the Beautiful.”

Joan Meth
Bethesda, Marylam ;

CASTS

OF CURRENT PICTURES

BARRETTS OF WIMPOLE STREET, THE—
M-G-M. Directed by Sidney Franklin: Elizabeth,
Jennifer Jones; Barrett, John Gielgud; Robert
Browning, Bill Travers; Henrietta, Virginia Mc-
Kenna; Bella, Susan Stephen; Captain Surtees Cook,
Vernon Gray; Wilson, Jean Anderson: Arabel,
Maxine Audley; Harry Bevan, Leslie Phillips.

BUNDLE OF JOY — RKO. Directed by Norman
Taurog; Dan Merlin, Eddie Fisher; Polly Parrish,
Debbie Reynolds; J. B. Merlin, Adolphe Menjou;
Freddie Miller, Tommy Noonan; Mary, Nita Tal-
bot; Mrs. Dugan, Una Merkel; Adams, Melville
Cooper; Mr. Crecly, Bill Goodwin.

DON’T KNOCK THE ROCK— Columbia. Directed
by Fred F. Sears: Arnic Haines, Alan Dale; Fran cine
MacLaine, Patricia Hardy; Arlene MacLainc, Fay
Baker; Sunny Everett, Jana Lund; Musical Person-
alities, Themselves.

EDGE OF THE CITY — M-G-M. Directed by Martin
Ritt: Axel North, John Cassavetes; Tommy Tyler,
Sidney Poitier; Charles Malik, Jack Warden: Ellen
Wilson, Kathleen Maguire; Lucy Tyler, Ruby Dee.

FOUR GIRLS IN TOWN— U-I. Directed by Jack
Sher: Mike, George Nader; Kathy, Julie Adams; Iua,
Marianne Cook; Maria, Elsa Martinelli; Vicky, Gia
Scala; Johnny, Sydney Chaplin.

FULL OF LIFE — Columbia. Directed by Richard
Quine: Emily Rocco, Judy Holliday; Nick Rocco,
Richard Conte; Papa Rocco, Salvatore Baccaloni;
Mama Rocco, Esther Minciotti; Father Gondolfo,
Joe DeSantis; Joe Muto, Silvio Minciotti.

GIRL CAN’T HELP IT, THE— 20th. Directed by
Frank Tashlin: 'Tom, Tom Ewell; Jerri Jordan,
Jayne Mansfield; Murdock, Edmond O’Brien;
Mousie, Henry Jones; Wheeler, John Emery; Hilda,
Juanita Moore; Musical Personalities, Themselves.

GREAT MAN, THE — U-I. Directed by Jose Ferrer:
Joe Harris, Jose Ferrer; Philip Carleton, Dean Jag-
ger; Sid Moore, Keenan Wynn; Carol Larson, Julie
London; Ginny, Joanne Gilbert; Paul Bcascley, Ed
Wynn; Nick Ccllantano, Jim Backus; Eddie Brand,
Russ Morgan.

HOLLYWOOD OR BUST — Wallis, Paramount. Di-
rected by Frank Tashlin: Steve Wiley, Dean Martin;
Malcolm Smith, Jerry Lewis; Anita Ekberg, Her-
self; Terry, Pat Crowley; Bookie Benny, Maxie
Rosenbloom.

IRON PETTICOAT, THE— M-G-M. Directed by
Ralph Thomas: Chuck Lockzvood, Bob Hope; Vinka
Kovelenko, Katharine Hepburn; Colonel Sk/arnoff,
James Robertson Justice; Ivan Kropotkin, Robert
Helpmann; Dubratz, David Kossoff.

1ST AN BU L — U-I. Directed by Joseph Pevney:
Jim Brennan, Errol Flynn; Stephanie Bauer, Cornell
Borchers; Inspector Nural, John Bentley; Danny
Rice, Nat “King” Cole; Douglas Fielding, Torin
Thatcher; Charlie Boyle, Leif Erickson; Marge Boyle,
Peggy Knudsen; Mr. Darius, Martin Benson.

KING AND FOUR QUEENS, THE — U.A. Di
rected by Raoul Walsh: Dan Kchoe, Clark Gable
Sabina, Eleanor Parker; Ma McDade, Jo Van Fleet,
Ruby, Jean Willes; Birdie, Barbara Nichols; Oralie,
Sara Shane; Sheriff Larrabcc, Roy Roberts.

RAIN MAKER, THE — Wallis, Paramount. Directed
by Joseph Anthony: Starbuck, Burt Lancaster;
Lizzie Curry, Katharine Hepburn; File, Wendell
Corey; Noah Curry, Lloyd Bridges; Jim Curry, Earl
Holliman; H. C. Curry, Cameron Prud’homme;
Sheriff, Wallace Ford; Snookic, Yvonne Lime.

SLANDER — M-G-M. Directed by Roy Rowland:
Scott Ethan Martin, Van Johnson; Connie Martin,
Ann Blyth; H. R. Manley, Steve Cochran; Mrs.
Manley, Marjorie Rambeau; Joey Martin, Richard
Eyer; Seth Jackson, Harold J. Stone.

THREE VIOLENT PEOPLE — Paramount. Di-
rected by Rudolph Mate: Colt Saunders, Charlton
Heston; Lorna, Anne Baxter; I nnoccncio, Gilbert
Roland; Cinch, Tom Tryon; Cable, Forrest Tucker;
Harrison, Bruce Bennett; Ruby LaSalle, Elaine
Stritch; Yates, Barton Mac Lane; Lieut. Marr,
Peter Hansen.

WINGS OF EAGLES, THE— M-G-M. Directed by
John Ford: Spig Wcad, John Wayne; Carson, Dan
Dailey; Minnie, Maureen O’Hara; John Dodge, Ward
Bond; Herbert Hazard, Kenneth Tobey.

WRONG MAN , THE — Warners. Directed by Al-
fred Hitchcock: Manny Balestrero, Henry Fonda;
Rose Balestrero, Vera Miles; O’Connor, Anthony
Quayle; Lt. Bozvcrs, Harold J. Stone; Detective
Matthews, Charles Cooper; Tomasini, John Helda-
brand; Manny’s mother, Esther Minciotti.

YOUNG STRANGER, THE— RKO. Directed by
John Frankenheimer : Hal Ditmar, James Mac-
Arthur; Helen Ditmar, Kim Hunter; Tom Ditmar,
James Daly; Sgt. Shipley, James Gregory; Grubbs,
Walt Bissell; Jerry, Jeff Silver.

ZARAK — Columbia. Directed by Terence Young:
Zarak Khan, Victor Mature; Major Ingram, Michael
Wilding; Salma, Anita Ekberg; Biri, Bonar Col-
leano; The Mullah, Finlay Currie.

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A loving husband,
happy children and
faith helped Ann Blyth
forget a tragic loss

BY ERNST JACOBI

When Ann Blyth married Dr. James McNulty she joined a large, happy family, to
which she has added Timothy Patrick, aged two, and pretty one-year-old Maureen Ann

COUNT YOUR

BLESSINGS

• “Timmy is ready to go to sleep, Mrs. McNulty,” said the
nurse.

Mrs. McNulty, alias Ann Blyth. excused herself and left the
dinner table. She was having fun, but seeing Timmy into his
bed and kissing him good-night was a nightly ritual she
wouldn’t miss for the world.

“Good night, Mummy,” the child mumbled. At any rate, the
sounds he made were a reasonable facsimile of such words
and that’s what Ann interpreted them to mean.

“Good night, sweet dreams and God bless you, my
darling,” Ann said, kissing her two-year-old son on the cheek.
“Give me another scare like you did ( Continued on page 112)

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Where can a man go when
he starts to run from himself?
This begins the tragic,
never-before-told story of
the reasons for Monty
Clift’s mysterious
recurring “breakdowns”

BY RICHARD GEHMAN • At thirty-six, Montgomery Clift is extraordinarily talented, strik-

ingly handsome and, before his recent and latest breakdown, without
doubt one of the finest actors in Hollywood. His ability to concentrate,
to lose himself in a part and yet maintain an individualism which per-
vades his acting, is the envy of every performer who has ever worked
with him. The intensity he brings to each role is, at times, terrifying
to his colleagues, some of whom feel that each part he plays takes a
severe toll of his nervous system. He has a rare charm ; men and women
alike are attracted to him in large numbers. The films he has been in,

Continued

What is his torment? Fear
that he betrayed his talent?

And lost the “ Eternity ”
Oscar to Frank Sinatra?

Does he wish he’d asked
Liz Taylor to marry him?

Does he dread losing
friends like Eva Marie Saint?

And brood about his serious
attachment to Libby Holman?

/m/mm Continued

Where does flight
begin — in the heart
or in the head?

including “Red River,” “The Search,” “A
Place in the Sun,” and “From Here to
Eternity” have mainly made money. More-
over, Clift is one of those people who seem
able to relate their actual experience to their
creative activity. And despite the fact that
some of his roles have had a certain sameness,
he appears to be growing. He ought to be ap-
proaching the peak of his powers as an actor,
and enjoying some of the finest days of his life
as a human being.

Yet, for all of that, Montgomery Clift today
appears to be a floundering, confused, inse-
cure actor whose inner torment could easily
prevail over his talent. He has just finished
“Raintree County,” M-G-M’s extravagantly-
produced version of the late Ross Lockridge’s
best-selling novel, which may well turn out to
be the most successful movie in which he has
appeared to date. He is soon to begin work
on “The Devil’s Disciple” for Hecht-Lan-
caster. But after I interviewed him in Holly-
wood, and talked to some of the people who
worked with him on “Raintree County,” and
to people who knew him in New York, I came
to the inescapable conclusion that Montgomery
Clift is a man in danger of losing every-
thing he had worked so hard to attain. He
reminded me of a friend of mine, a talented
writer who for the past five years, for secret
reasons of his own, has hurled himself hell-
bent down a road that can only lead to self-
destruction.

That impression was borne out by some of
the conversations I had with people close to
him. “The guy acts as though he’s trying to
hurt himself,” said an acquaintance who
worked closely with Clift in “Raintree
County.” “Somehow, he’s convinced that
everybody hates him — and I think he hates
himself. He appears to be doing all sorts of
self-destructive things all the time. I don’t
like to talk about ( Continued on page 108)

EENY, MEENY,

MINY, MO,

WILL BE THE

Watch out — those curves are dangerous! But the
three most explosive blondes ever to hit Hollywood
might be in danger 9 too • BY LAURA LANE

• Hardly a day goes by without Jayne Mansfield’s picture appearing in
print. Long before she’d gone back to Hollywood for her second — and
successful — try for stardom, she was more talked about and better known
than stars with a dozen picture credits to their names. Some of the publicity
was good and much of it was bad, but Jayne consulted with her astrologer,
decided the stars were in her favor, and posed some more, apparently on
the thesis that what the newspapers said about her was unimportant as
long as they said it — and preferably on the front page. As a result, the
picture that emerges is a somewhat confused one, and a great many people
are beginning to take Jayne at her worst instead of her best.

Continued

Marilyn Monroe gambled with Hollywood and
won, but her victory might be a temporary one

TOGO?

Kim Novak is riding high, but of the three
she’s the one most apt to trip herself up

On her first try for stardom, Jayne Mansfield
lost out. Now she might be trying too hard

Here Are

Who will be the first to go?

Continued

Then one wonders whether the purple
haze that hovers around Kim Novak’s pretty
hlonde tresses doesn’t induce some kind of
self-hypnosis when it comes to grading and
sorting the men who have played a part in
her life. Is it possible that she is more in
love with love thap with the men who were
supposed to arouse this emotion? Which of
these is Kim’s ideal? Is it steady, long-
admiring Mac Krim, who keeps Kim’s bed-
side phone ringing around the world? Do
such suave types as Aly Khan and Count
Bandini really set Kim in a lavender mood,
particularly when a rough-and-ready fellow
like Frank Sinatra can raise such a rumpus
in her life? Is Kim, like a dainty eater
confronted by a huge smorgasbord, just nib-
bling and tasting? Sometimes a person with
a hearty appetite goes away hungry.

When Marilyn Monroe wandered out of
the Actors Studio and linked arms with
highbrow playwright Arthur Miller, her fans
began to wonder if she hadn’t gone too far
this time. Why doesn’t she leave her mind
alone? they asked. She had traveled a long
way and made a lot of people happy with a
provocative wiggle and her natural charm.
Now she was going in for Stanislavsky act-
ing theory and classical music. They pointed
an accusing finger at drama coach Natasha
Lytess, who, they said, started it all by get-
ting MM interested in Russian literature and
highbrow ideas. Now the rumors are hitting
head-on — -“MM will star in Miller’s next
play . . .” “MM will realize she’s met more
than her equal in ‘The Sleeping Prince’ with
Olivier . . .” “MM is expecting, and a baby
may end her film career . . .” If they’re right,
Marilyn might find her latest revolt against
Hollywood to be her last one.

Jayne, Kim and Marilyn are racing along
at top speed on their chosen paths. The
chances are that they will be able to side-
step all these stumbling blocks. Yet these
are things that have tripped up other prom-
ising young stars, and we can only hope that
an awareness of the changes ahead will dis-
pel the danger. We want all three of these
young women here to stay.

Kim’s Love
of LOVE

Aly Khan was a thrill

Frank Sinatra is a challenge

Count Bandini is heady stuff

Jayne’s love
of PUBLICITY

• Marilyn’s love

* of ART and the ARTY

“Over-exposed!” say Jayne's critics

“IF ho says she can act?”

Mike Hargitay thinks she’s great

Actors Studio was “art”

Arthur Miller was a “brain”

Sir Laurence was opportunity

Natasha Lytess was the needle

what

THAT

NICE

COUPLE

door?

Why has Jack turned his back . . .

. . . on the happy years with Cynthia?

The Jack Lemmons were one of the nicest and happiest
couples in town. They never “ went Hollywood What
caused the break-up? • BY RUTH WATERBURY

• Frequently, these evenings in Hollywood, you will
see Jack Lemmon and starlet Mona Knox at a small
cafe called the Bantam Cock. If you are a quick
conclusion-jumper, you might think this a romance.
Jack is in the process of being divorced by his lovely
blonde wife, Cynthia, and Mona is pretty, witty and
unencumbered.

However, if you watch Jack with Mona, or with
any of the other girls he has dated since his separa-

tion, you will soon realize there is something awry
about the romantic picture. For while Christopher
Boyd John Uhler Lemmon III definitely arrives at
a cafe with his girl, and definitely leaves with her,
most of the time while he’s at a cafe he is away from
her. Generally he spends the entire evening seated at
the piano.

With his debonair charm, his comic young face
aglow as he crosses the ( Continued on page 80)

He got a kiss from Eva
Marie Saint and an Oscar for
“Mr. Roberts.” Did he also
undergo a change of heart?

There’s no other woman.
Rumors linking him with
Rita Hayworth on location
were without foundation

Why Liz Taylor’s men also fall for

Our Strangest Triangle: The bereft
Michael Wilding is being consoled by
Marlene Dietrich over losing Liz Taylor
to another Mike named Todd. Behind
this simple statement is a story stranger
than all of fiction. About seven years
ago, when Mike was at the peak of
his screen career as Britain’s top lead-
ing man, he was borrowed by Alfred
Hitchcock to play in a suspense thrill-
er called “Stage Fright.” Appearing
opposite him in the role of a “glamor-
ous actress” was a glamorous actress
named Marlene Dietrich. In one of the
scenes, Marlene, lying sextactularly on
a sofa, smothered in white maribou,
confided in rich, sultry tones, “I’m the
laziest gal in town!” But once the
cameras stopped, there was nothing
lazy about her approach to Mike.

Susan Strasberg, laughing with Cliff Robertson, still walks
alone personally and in her work. Parties and boys are few

Mary Martin congratulates Helen Hayes on son Jimmy’s Another famous combination: June W alker and son

acting success. Jim also wanted to be a writer, like his Dad John Kerr, proving again that talent runs in families

Dietrich

And Ava Gardner’s the loneliest gal in

town , despite Walter Chiari

Before the film had wound up, Mike
had ask,ed Marlene to be his wife.
Marlene turned down his proposal, not
because of the divergence of their ages
(she is attracted to men younger than
herself) but for the simple reason that
she was — and still is — married to Ru-
dolph Sieber, the father of her only
daughter, Maria. Although they have
been separated for years, no man has
come along for whom she has felt it
necessary to seek her freedom — except
temporarily as a romance. And so, when
“Stage Fright” was finished, Marlene
sailed back to America, leaving a lone-
ly, unhappy Mike Wilding behind. But
no attractive, unattached male, espe-
cially a popular film star, is allowed
i to be unhappy for long.

One night, shortly after Marlene’s
departure, Mike was dining at May-
fair’s exclusive Les Ambassadeurs
Club, when he suddenly found himself
| staring into the eyes of a dazzling beau-
ty, as different from Marlene as two
beautiful women can be. The inevitable
happened and the rest is history. When
j Liz Taylor eventually asked Mike for
i; a separation, the name lingered on in
her life with another Mike — Mike Todd.
Here again was a study in strange con-
trasts, this time between two men:

; Wilding, a reserved Britisher with a
: quiet, lazy charm, educated in the best
public schools (only in England a
1 public school is private), and Todd,
volatile and explosive, a born gambler,

1 recklessly extravagant, self-educated
and self-made. And here is still another
twist to this amazing story. Before Liz
came into his life, Todd had persuaded
Marlene to play herself as one of the

guest stars in “Around the World in
80 Days.” Marlene had succumbed not
only to Mike’s fast-talking salesman-
ship, but to Mike, himself, especially
his generous purse.

While Marlene was in Hollywood,
filming “Around the World,” she and
Mike were together constantly. On her
return to New York, they were seen at
all the first nights and other glamour
spots in town. Then she left for the
Riviera to make “The Monte Carlo
Story” with Vittorio De Sica. The pic-
ture ran way over schedule and Mar-
lene was miserable through most of it.
Then she returned to New York for
the gala opening of “Around the
World,” only to discover that the “hot
Toddy” she had left behind hadn’t

cooled off. But now he was even hotter
about Mrs. Mike Wilding, and it was
she who decorated his arm at the pre-
miere and midnight supper party after-
ward. Marlene was escorted by an old
friend. Noel Coward.

Then Marlene had to fly to Holly-
wood to see Jean Louis about another
staggering wardrobe for her third ap-
pearance at Las Vegas. On her arrival,
she heard that Liz had asked Wilding
for a divorce. Call it good timing, call
it destiny, or pure accident, or what
you will, the fact remains that Marlene
and her first Mike caught up with each
other again at the precise psychological
moment for both of them. Whether this
reunion after a seven-year interlude
will rekindle their former flame, and

Continued

Paul Douglas and Jan Sterling never bore one another,
and her new figure, new play are good conversation items

Glenn Ford loved being in Japan.
IFhen he returned, he and his
Ellie were tops with these young
guests at the “Teahouse” premiere

The Stewart Grangers confused
all and sundry when they named
their baby Tracy, had the press
reporting their child was a son

When Marlene Dietrich visits Hol-
lywood, her first stop is the Van
Johnsons’ to cook beef stroganoff
and exchange the latest gossip

Tony Perkins never stays at a
party for very long, but he’s al-
ways seen in the right places with
right people — like Elaine Aiken

Audrey Hepburn takes being Mrs.
Mel Ferrer very seriously. But,
more importantly, is she taking
her film star status too seriously?

Lana Turner’s friends are afraid
she’s been off the screen too long,
bat with independently wealthy
Lex Barker around, she won’t worry

this time wind up at the altar, is any-
body’s guess. But if it does, I predict
they have a very good chance of mak-
ing a go of it.

Mike needs a woman to dominate
him. And don’t let Marlene’s femme
fatale trappings fool you. Basically,
she has the disciplined mind of a Ger-
man officer with the soul of a German
hausfrau. She is at her happiest when
she can “mother” someone — man, wo-
man or child — and she doesn’t care
whether it takes the form of cooking,
nursing, baby-sitting, or giving helpful
advice. Some men — and I can name
several — have been scared off by Mar-
lene’s complete “taking over.” But not
Mike. He’s the type of easygoing Brit-
isher who needs someone like that. His
first wife, Kay, now married to actor
Douglass Montgomery, wa& the strong-
er of the two, and so was Liz Taylor.
Only Liz’s dominance was in relation
to herself. “Let’s leave here now,” she’d
command at a party when she was
tired. Marlene, on the other hand,
would have whispered, “Darling, you
look tired. Let’s go home and I’ll warm
some milk for you.” And in all prob-
ability, while Mike is sipping his milk,
Marlene will be massaging his neck

Eddie and Debbie are all smiles now,
but things weren’t always so rosy

and back with the efficiency of a trained
masseuse, while at the same time she
will be advising him what to say when
he sees his agent in the morning. And
he, in turn, will bring to Marlene the
physical attraction of a younger man;
a lack of temperament and ego, rare
in an actor; two more little children to

adore, and the security of love that
every woman needs. Especially glamor-
ous women like Dietrich, who are the
loneliest in the world.

Footsteps to Glory: “Relatively”
speaking, this is an amazing year. Prac-
tically every big Hollywood film and
Broadway play can boast some relation
of a famous parent who is making good
on his or her own. Just consider a few:
Tony Perkins, Susan Strasberg, Johnny
Kerr, Jim MacArthur, Sidney Chaplin,
Jack Merivale and Anna and David
Massey. Tony, incidentally, adds to the
merry-go-round by dating the daughter
of a notable Hollywoodite: Maria Coop-
er, offspring of Gary. This fact helps
to dispel the gloom of some of Tony’s
fans, who wondered when he would
come off his ivory perch for a real date.
Perhaps the most notable event of this
offspring wave is the great personal suc-
cess scored by Charlie Chaplin’s son,
who is making his Broadway debut in
the Judy Holliday smash hit musical
“Bells Are Ringing.” But Sidney’s father
can take none of the bows for launching
this stage career. It was Judy, and
Judy alone, who insisted that Sidney be
given the audition that finally won him
the role of her leading man against
competition from established names
like Howard Keel and Johnny Johnston.
She foresaw what all the drama critics
“discovered” after the opening: that
Sidney, with his dark good looks, ef-
fortless charm and stage poise (won
after a long apprenticeship at the
Circle Players in Hollywood, where he
did everything, including sweeping the
stage) would be a matinee heartthrob,
younger and handsomer than Yul Bryn-
ner, Ezio Pinza and Rex Harrison.

The happy and loving Rossellinis are
faced with some temporary problems

Continued

Strangely enough, although he was
completely ignored by Hollywood and
equally overlooked in London, where
he had gone hoping that his father’s
homeland might give him a break, Sid-
ney has always scored heavily in private
life. Three of the loveliest bundles from
Britain, Kay Kendall, Claire Bloom and
Joan Collins, have fallen victim to his
charm in the past. Now Judy Holliday
is continuing to hear “bells ringing”
after the show’s curtain rings down.

That Judy’s current romantic inter-
est in her on-stage leading man will
lead to the altar doesn’t seem likely to
their intimates. For one thing, there’s
the age difference between them, and
secondly, Sidney is the type who be-
lieves there is safety in numbers. He’s

Rossano Brazzt was a conquest for
Crawford, but only on the screen

playing it safe now as far as all wo-
men are concerned, by living as a bach-
elor but sharing his apartment with
Adolph Green, who, with Betty Com-
den, wrote book and lyrics for “Bells.”

Stop the Press: How does Lana Tur-
ner feel about being off screen for so
long? Friends feel she ought to be
worried, but when she snuggles up to
handsome, wealthy Lex Barker they get
the idea that she couldn’t care less. . . .
Jan Sterling has buckled down to a new
diet and the results are a brand-new,
lithe figure. Hubby Paul Douglas’ eyes,
which always light up whenever Jan
is around, shine brighter than ever at
the sight of the ( Continued on page 96)

George Stevens, producer and direc-
tor of “Giant,” long ago saw the
potential in the young Rock Hudson

THE ROCK HUDSON

Roy Fitzgerald came to Hollywood, became
Rock Hudson — and ivent on from there. But

on the way there was pain, hope, fear and joy

To the struggling Rock, Julie Adams
offered a gay and sympathetic com-
panionship that he needed very much

Except for Phyllis, no one in Rock’s
life gave him so much warm under-
standing as script girl Betty Abbott

Piper Laurie was just one of the
girls Rock dated during the period
when he was trying to find himself

What has gone before: Part I of
Joe Hyams’ life story of the man
legally named Roy Fitzgerald told of
his boyhood, his disturbed family life,
his early search for a way of life. Rock
was a letter carrier on the streets of
Winnetka, Illinois, a truck driver in
Hollywood and later a bit player.

• When a man stands in front of a
mirror shaving, there come the days
when he stops looking at the whiskers
and takes a good look at himself. On
one such occasion recently. Rock Hud-
son looked at his face in wonderment
and asked himself — for perhaps the
fiftieth time — what am I doing here in
this house in Hollywood as a movie
star?

Rock has never been able to satisfy
himself with an answer. None of his
countless biographers have ever been
able to draw (Continued on page 104)

STORY

BY JOE HYAMS

Today Rock’s emotional life centers
on Phyllis and his work, including
Korean orphans of “ Battle Hymn”

■

Neither tears nor jewels are strangers to Debra
Paget. Hers is a world of dreams come true

The mermaid murals are jeweled

• In a fabulous story-book house a block off Sunset Boulevard
a lovely girl lay on a bed of strawberry velvet and white satin.
She was crying, because Fate had been unkind — or so it seemed.

Debra Paget, actress, wept because a role she had been prom-
ised had gone to another young star. ( Continued on page 100)

— i ij i.j

d&p ■

MS.

BY MAXI IS E ARNOLD

- "7

HE’LL NEVER WIN AN

BY CHARLES DESMOND

SCAR

We didn’t say that — and we don’t believe it. But Cary Grant
insists he’s having too much fun to worry about being rewarded

Cary Grant not only likes his fans,
he’s genuinely interested in them

• It is a curious and yet undeniable fact that
in forty-odd years of show business — the last
twenty-four of them in Hollywood — Archibald
Alexander Leach has rarely been tabbed “An
Actor.” Not in the sense that indicates lofty
critical praise. He has been acknowledged to
have, and he has, great physical magnetism.
It is generally conceded that he is handsome.
But in the last definition of the craftsmanship
he has sought and in which he has been so
long successful, he has been little honored.

It may be said now that this circumstance
has not escaped the attention of Mr. Leach —
who in 1932 decided ( Continued on page 75)

A very successful film was Cary's
“Mr. Blandings Builds His Dream
House.” Applause, no Oscar!

His latest film is “The Pride and “None But the Lonely Heart” co-

the Passion” with two-time Oscar starred Ethel Barrymore, proved

winner Sinatra and Sophia Loren Cary's great range as an actor

“Sorry, No Casting Today...”

• The telephone is what Hollywood lives by. At the other end of it
is fame and fortune or despair and hunger. Every actor has an
answering service. Even if he has to paste cardboard in the soles
of his shoes and sleep until late afternoon so that he only needs
one meal a day, the price of an answering service is a must. In good
times, an actor checks in once or twice a day. In bad times, he hangs
on it, waits for it. He’s afraid to answer that ringing phone and
afraid not to. He puts off checking with his answering service while
he plays a game with himself and says, “If it’s good news I’ll get it
anyway. If it’s bad news, I don’t want it.” Bill Phipps, whose serious
acting started when he got the lead in George Pal’s “Five,” knows
what it is to get the good news, and what it’s like to get the bad news.
Listed in the casting directory as “Every mother’s son, every girl’s
brother,” he seemed on his way to quick stardom. But Bill is one of
many competent actors — in fact, several directors have called him
a potentially great actor — for whom the big break didn’t come. In
steady demand by studios and TV, successful financially, he missed
stardom by a heartbeat. Now he’s cast in solid and important charac-
ter parts, but he’s the exception to the Hollywood rule that says, “If
you’ve got it, you’ll get it.” Bill Phipps got a lot from Hollywood —
more than most ever get. He just didn’t get what he might have gotten.

bill phipps is in Columbia’s “the brothers rico”

FROM

HOME

Rod Taylor came all the way from
Australia to, keep a promise that he made himself—
the promise to be an ACTOR

€ i *•

BY HYATT DOWNING

Bachelor Rod makes a late telephone call
when loneliness gets too much for him

• Most mornings before the sun
has risen too high in the sky, a tall,
dark young man in bathing shorts
steps from a modest beach house at
Malibu, stretches his arms into the
air and looks out over the Pacific be-
fore racing across the sand for a
dip. Gazing into the distance across
the blue water, Rod Taylor, the young
Australian who has made such a
hit in “Giant” and “Raintree County,”
probably is thinking of home and
what a long way he has come to put
his mark on the Hollywood scene.

Rod, who shares the beach house
with Jeff Richards, an M-G-M player,
and Bob Walker, casting director
of Review Productions, at first glance
lacks most of the outward signs of
so many Hollywood hopefuls who are
trying to crack the sound barrier
of stardom. He is not handsome in
the conventional Hollywood sense.
Clad in blue jeans and a stained
sweat shirt, he might easily be mis-
taken for a young lumberjack about
to enter a log-rolling contest. Wear-
ing high- ( Continued on page 98)

Judi Jordan’s just a casual friend. Rod
is a man with a mission — to make good

Whatever you have thought or said about
Bob Wagner in praise or blame , read this
story, please, and cheer him — as we do

• Robert John Wagner, Jr., a 26-year-old film player
of “feature” stature in the minds of the industry, but a
star in the eyes of the public, reached his studio dressing
room one day in the semi-darkness of early evening. He
was edgy, voluble and apparently suffering from mild
exhaustion. The apparel he was wearing was part sports
and part Western, including boots. He was -not alto-
gether happy.

Bob Wagner had spent most of the day “looping,” a
term that in Hollywood has nothing to do with exuberant
celebration, but means dubbing lines to his own lips
in scenes where exterior noises have made them unin-
telligible during outdoor shooting. It is a difficult and
exacting business, and in this instance especially so, since
Wagner had had to re-enact the gasping, broken words
of a badly wounded man — himself, as Jesse James. Now,
however, it was over and, from a bar on one side of the
room, he poured himself a fair-sized Scotch and water.
“You can call it a Coke if you want,” he said to a visitor.
“But you don’t have to. How I’m sick of that Coke bit.
‘For recreation, Bob likes nothing better than an early
movie and a Coke,’ ” he said with a rather bitter over-
tone. “I think maybe we’ve outgrown that.”

“Dressing room” as a description of the studio quar-
ters of an actor of Wagner’s professional rank is both a
misnomer and an understatement. Situated on a second-
floor level directly across from the 20th Century-Fox
commissary, the setup is more properly a suite or even
an apartment: a kind of office in the front, behind it a

Continued

BY JOHN MAYNARD

pOFILE IN COURAGE Continued.

He has talent , he has brains , he has looks. Who’s at fault , Bofo or Hollywood?

Seldom has an actor as talented
as Boh Wagner had to make a
movie as bad as “ Prince Valiant”

As Joanne Woodward’s psycho-
pathic killer in “A Kiss Before
Dying” Bob did his best, in vain

Of “The Mountain” with Spencer
Tracy , critics said , “This boy still
has to reach maturity as an actor”

Bob’s next is " The Jesse James Story,” of which
Bob says, “Jesse James wasn’t a kid. Well ,
neither am I. When will Hollywood realize it?”

living room, complete with hi-fi and the bar and a lava-
tory. Wagner’s retreat is also something of a social center,
and now, in the cold twilight, several people were pres-
ent: a writer-director named Richard Sale; a man with
cropped, sparse white hair and a musical voice whom
everyone called Duke; Barbara Rush, a young actress;
Nena Wills, Wagner’s secretary, and the casual visitor.
Wagner sank heavily into a swivel chair and regarded
Miss Rush with something between friendly admiration
and mock ecstasy.

“You do/Z!” he said. “You gorgeous doll!”

Miss Rush grinned at him. “I know,” she said.

“You absolute doll!” said Wagner. “Wait a minute.”
He swiveled around to the phone and dialed a number.
“Mr. Wagner, Sr.?” he said. “Wagner, Jr., here. I’m
going to be tied up just a little. Keep everything hot,
will you? Thanks, Dad.” When he swung back, his face
had become moody, and for a moment his vague gesture
seemed to groom the protruding forelock of hair that
characterizes his screen appearance. It is like the hair
of the small child who lives next to Dagwood Bumstead
in the comic strip. Wagner never brushes it back; he
appears to encourage it. “A phase,” he said. “It’s time
I came out of a phase. Earnest Robert Wagner, God’s
gift to the soda fountain, is not long for this earth. You
suppose Jesse James ever had a soda?”

“You can’t be a juvenile forever,” someone said.

“I already have been,” said Wagner. “What’s another
eternity going to matter? It’s a funny thing. Somebody
says you’re a star. Then somebody else says so. It’s
wonderful how everyone agrees to it. There’s only one
thing wrong: You’re not a star. You know it. The tech-
nicians know it. But it’s too late. ( Continued on page 90)

■p-

LIVING WITH

JOAN COLLINS

IS IN 20th century-fox’s
“sea wife” and
“island in the sun.”

NEGLIGEE BY JUEL PARK.

THE

UNDERCOVER STORY
OF THE YEAR

• Beauty Begins in the Boudoir

• How to Have the Bustline You Want

• Fashion a Beautiful Figure

ALSO

Etiquette

For a Bachelor Girl

Outline your eyes with a very,
very thin pencil in any color
you iee.l accentuates the col-
or oj your eyes. Keep the
line close to your eyelashes

UNDERCOVER
STORY OF
THE YEAR

Beauty

Begins
in the

BOUDOIR

• we all know that a daily shower is a “must for
the girl who would be truly beautiful. Next, comes
dainty lingerie — which is a positive obsession

with Natalie Wood. Lingerie, too. should come in

for a daily “showering”. Then, what’s more luxu-
rious than a liberal dousing with any good toilet
water for that tingling, head-to-foot feeling of
“coming to life”? With those things out of the
way, it’s time to concentrate on •beauty: founda-
tion creams, astringents, and so on. When it comes
to the application of make-up, remember, too
little is always far better than too much.

Beauty begins with good grooming, and Natalie Hood tvill tell you that good grooming begins with you alone

Like most Hollywood stars.
Katalie uses a l/rush to get
a smooth outline when apply-
ing lipstick. She’s careful to
uvoid an exaggerated lipline.

Eyebrows should not be plucked
or shaved to pencil-thinness.
They add character to your
face, so it’s best to pluck
them out one by careful one

Mascara is good for pructi-\
cally everyone. There are all \
sorts oj tricks, including vnse-i
line, then powder, then mas-l
cara. to make lushes thicker*

)ut of color TV comes a new make-up to make you

Max Factor’s new hi-fi Fluid Make-Up

You’ll love the Hi-Fi look. ..and so will he! Because Hi-Fi makes a natural beauty
1 of you . . . ends the “made-up” look once and for all. There's a whole new range of high
fidelity shades in Hi-Fi . . . shades that emphasize the loveliest you!

I Hi-Fi does for color what high fidelity does for music ! Reproduces perfect
^natural skin tones that blend invisibly with your own complexion. In bright sun-
light, glaring or artificial light, there’s no tell-tale mark — all anyone can tell is that
you’re lovely!

Hi-Fi heightens your own color ... hides flaws! The delicate color Hi-Fi gives you
is remarkable . . . because it’s so fresh, so natural-looking . . . yet it hides whatever
you want to hide with a sheer veil of beauty! It smoothes and softens skin quickly,
easily — never streaks or smears.

Any light is flattering with Hi-Fi. Glaring lights of color TV made existing make-
ups appear harsh, unflattering. So the great networks called on Max Factor. From
his research, he developed an exclusive new color principle, creating a make-up that
stayed smooth and radiant under the most glaring light. From this same color principle,
Max Factor created this wonderful new make-up for you. Hi-Fi Fluid Make-Up!

Natural-looking beauty can be yours... now! Choose the perfect shade for your
complexion from six new high fidelity shades in Hi-Fi. $1.75 plus tax at your favorite
cosmetics counters. Fluid Rouge in new high fidelity colors, $1.25 plus tax.

Send in this coupon for “Try Size” Hi-Fi, enough for at
least TEN make-ups for only 25 i\ You will also receive
FREE Max Factor’s new book “YOU AT YOUR LOVELIEST”

Max Factor, Dept. H, P. O. Box 941, Hollywood 28, California
Please send me my shade in the special “Try Size” Hi-Fi Fluid
Make-Up. I enclose 25<S My natural skin tone is (check one)
□ Fair Tone □ Tempting Tone □ Blush Tone □ Candle Tone
(fair) (natural) (med. rose) (medium)

□ Gay Tone □ Sun Tone □ Bronze Tone 1-3

(deep natural) (tan) (deep tan)

Name.

PLEASE PRINT

Street City Zone. State

o look at her now you’d never know. . . but her face ’’broke out” an hour
ago. The 2-step Medicare Set saved her then. Medicare Stick saves her now.

*****

to be as lovely as you can be. . .

TUSST medicare

Set of Creamy Masque and Medicated Lotion (Light or Medium Shade), $2. Medicare Stick, SI. All tax free. On Canadian counters, too .

YOUNG IDEAS:

UNDERCOVER STORY
OF THE YEAR

How to have the
Bustline you want

For a shape more chic, Hollywood’ s famous beauty expert reveals
his personal bust-building formula as used by the movie stars • BY TERRY HUNT

Cleo Moore, Virginia Leith, Shelley Winters visit Hunt’s salon

• Many Hollywood stars have come to
my figure-building salon in Beverly
Hills for the beauty courses which I
have perfected. I promise them no
miracles, as I promise none to you. But
I do predict that, like so many of the
movie stars, your bustline will show
improvement by following my directions
for these simple exercises.

Correcting poor posture can do much
to make your line trim. The three most
common forms of poor posture are pic-
tured with this story. A sidewise curved
back (on this page) is often caused by
habitually carrying heavy books on the
same arm. Exercises to strengthen the
muscles evenly and sufficiently to sup-
port the frame will help. An uneven
hip line (pictured in back of book) can
only be corrected by determined effort
to straighten the spine and by develop-
ing better tone in the abdominal muscles
to make the lower back more normal. A
forward thrusting of the head results in
a badly sunken chest. Exercises can heln
you stretch and (Continued on page 78)

For More Bustline Beauty and Hotc to
Choose Your Bra, Turn to Page 78

Curved back spoils your line

YOUNG IDEAS:

UNDERCOVER
STORY OF
THE YEAR

There’s more than

meets the eye in be
well-dressed. These new

hidden attractions

help you to

ashioi

, \'S~-

•’ | '?>> ,

^ ,4 re airy pantie girdle of elastic mesh with
shaped satin Lastex panels front and hack,
extending to cushion the inner leg. De-
tachable garters.S, M,L.By Sarong. $5.95

g For a perfect profile, a girdle in nylon
power net, inch-paring satin elastic con-
tour panels front, back, sides. White.
Wraist sizes 25-34. By Flexees. $12.95

Dipping waistband for comfort in a black
nylon power net girdle, smooth satin
Lastex panel embroidered in blue. Also
white. S, M, L, extra-L. Youthcraft. $7.95

J) Curve control made easy in this flower-
patterned, seamless cotton and latex
girdle. New added plus: an easy-slide
zipper. Extra-S to L. Playtex. $10.95

H Beauty treatment bra — Dacron elastic
supports heart-embroidered cotton cups
defined by twin bands, shaped with light
foam. White. 32-40 A, B, C. Lovable. $2.50

£ Gently wired, figure-molding bra shaped
to a plunge, with circular-stitched nylon
lace cups, leno elastic band. White, black.
32-44 A, B, C, D. Maidenform. $5.95

£ Nylon lace bandeau ivith slender torso
band, a pretty conceit in the inset lattice-
work of satin ribbons. Black, white.
Exquisite Form. 32-42 A, B, C. $ 3.50

Q. Wired and boned bra, Alenqon lace-over -
satin cups lined with contour foam. Con-
vertible straps. White, black, pastels.
32-36 A, B, C. Hollywood-Maxwell. $5

bra with neat front hook
closing. White cotton, the cups deli-
cately embroidered and lightly padded
with foam. 32-38 A, B, C. By Gossard. $3

cotton shapes a high, round bra,
V -stitched, underscored with elas-
tic, framed in embroidered marquisette.
. 32-40 A, B, C. By Formaid. $3

To buy undercover fashions, see
information and stores listed on page 111

Continued

YOUNG IDEAS:

To buy undercover fashions, see
information and stores listed on pa£e 111

Continued on page 72

p Pretty and practical bra in batiste elas-
tic. Cups, embroidered cotton, foam-
lined. Mobile straps convert to six-way
wear. White. 32-38 A, B. Lewella. $2

Q. Matched pair : lacy nylon “ Curvallure ”
low-backed bra, boned, wired, contour
padded, with Dacron elastic support. 32-
36 A, B. $8.95. Slimming power net gir-
dle shaped with lace and satin elastic
panels. S, M, L. $8.95. White. By Jantzen

H Sleek new all-in-one shaped to whittle
a young figure. Firming elastic net,
elasticized marquisette, and circular-
stitched sheer net cups. All nylon
traced with pink embroidery. White or
black. 33-38 B, C. By Formfit. $16.50

J Elegant strapless— a bosom, midriff and
hip smoother in lace-touched Daeron.
Gently wired and boned with f ront hook
closing, low criss-cross back. Black,
white. 32-40 A, B, C. Perma-lift. $13.50

J For the smaller bosom, three-quarter bra
in cotton and batiste elastic, under-wired
cups foam-lined. Attachable four-way
straps. 30-36 AAA cup. By Peter Pan. $5

^ Control in brief, a handsome girdle in
patterned nylon power net, slimming
satin elastic diamond panels front and
back. White, red, black, pastels. S, M, L.
Enhance Jr. by Lily of France. $7.95

3 Shaped for a young figure, hip-smoothing
power net girdle. The control: an elastic
waistband continuing around pink-
etched panel. S, M, L. Warner’s. $7.50

For ease and freedom, all-over-stretch
girdle in rayon elastic with overlaid
rayon satin panel, nary a seam. White
or black. S, M, L. Silf-Skin. About $3

J) Carefree pull-on girdle in perforated
velvety rubber, hidden tummy panel.
The prettiness here: a printed red rose.
White. Waists 24-36. Kleinert’s. $4.95

g Bandeau of smooth cotton with elastic
insert. Rounded cups concentrically-
stitched, lightly padded, tricot -lined.
White. 32-38 A, B. By Stardust. $1.50

YOUNG IDEAS:

SOCIAL BEHAVIOR

I'm lonely —
Shall

Shall I kiss him

shall I ask him in?

I drink if I don’t want to?

jin

to be a good sport?

Nowhere are the wolves so hungry as in
Hollywood. But Dolores Gray has fool-
proof rules for being good , also popular

• To look at and listen to bachelor girl Dolores Gray,
who is so progressively modern, you’d never suspect her
of having certain values and viewpoints that are consid-
ered revolutionary in today’s fast-moving world.

“I’m practically Victorian about some things,” is the
way Dolores sums it up. “For example, some girls actu-
ally can phone a man and ask for a date. Why, a good
friend of mine, a popular and eligible Hollywood bachelor,
had three invitations from three famous female stars to
attend a recent premiere. All three had bought their
tickets themselves! My reaction remains the same. It’s the
man’s place to do the pursuing in every way — always!”

Brown-eyed, blonde-haired Dolores Gray (361/2-22-
36!), who sparkles like her favorite pink champagne, is
a scintillating sophisticate. She makes a habit of meeting
life head on, making no attempt to change the established
rules and regulations. But in her own inimitable way,
Dolores juggles them around a bit to suit her own in-
dividual needs and purposes.

About dating, for instance, she says, “Dating has al-
ways presented, shall we say, situations. When it’s with
a man you’ve met recently, it ( Continued on page 93)

Dolores open goes to a party alone
rather than settle for an escort whose
company she doesn't enjoy. And she
finds there's nothing like a dog or
two to keep the wolf from the door!

YOUNG IDEAS:

UNDERCOVER
STORY OF
THE YEAR

Continued from page 69

A Smooth-line slip, its shaped
bodice frosted with inset bands of
nylon lace, embroidery, pleating.
Bonus: a shadow-proof panel.
Silky cool, no-iron cotton ba-
tiste. White. 32-44. Artemis. $5.95

B Slim -to -the -knee petticoat,
widening to a deep, scqlloped
flounce gathered by appliqued
lilies. Bates airy cotton batiste
that dries in a wink. White, yel-
low, pink. S, M, L. Mojud. $3.98

C Elegantly tapered half-slip in
easy-to-care-for Dacron, nylon,
and cotton. Scalloped lacy hem-
line encircled with sheer em-
broidered appliques. White only.
S, M, L. By Sans Souci. About

To buy lingerie, see information and
stores listed on page 111.

DRAWINGS BY MAGGIE M ACGO WAN

Fashion a Beautiful
Figure

Perma-lift’s Magic Oval Pantie

CAN’T RIDE UP— EVER!

Obviously the trim, although uncomfortable, little lady on your left
doesn’t know that “Permadift’s” * Magic Oval Pantie** Can’t Ride Up
— Ever! And if you’re always pulling a stubborn girdle back into place,
too, it’s time you were wearing a “Permadift” Magic Oval Pantie. It will
never ride up, chafe, or irritate. Ask your corsetiere for a fitting today.
Pantie 3808 — Nylon Power Net, in five colors. Only $5.

Bra 33 — Circular stitched cups. In Dacron. $3.95.

*Rcg. U. S. Pal. Off. • A product of A. Stein & Company • Chicago — New York — Los Angeles **Pat. No. 2,705 ,801

BY CHRIS DAGGETT

what

Crazy, man, crazy! The rock ’ n rollers
on a disk are Sal Mineo and young
Susan Volkman, stars oj U-Ts “Rock,
Pretty Baby,” a picture with some of the
liveliest rock ’ n ’ roll sets we’ve heard

spinning

YOUNG IDEAS:

RECORDS

Bouncy Robert Clary is back again
with a twelve-tune offering on Epic
entitled “Hooray for Love,” a lively
and varied performance ably assisted
by Neal Hefti and his orchestra. The
prettiest tune in the set is the lovely
“Avec Ce Soleil,” sung in French in
Clary’s husky-voice style. He is his
swinging self in “Hooray for Love,”
“Thou Swell,” “Triplets” and “Love Is
a Simple Thing,” in which he sings a
round with himself. He dips into the
Calypso vein with “White Witch” and
“Calypso Blues.” For the very touch-
ing “Ship Without a Sail,” Robert be-
comes quieter and wistful, but returns
to the happy mood on “Le Gamin de
Paris.” The cover pictures are a lot of
fun too.

“He Loves Me, He Loves Me Not”
on the Atlantic label is an LP that has
been prepared with consummate taste
and care. First, there is Chris Conners.
Her warmth of sound is individual and
attractive. Her sensitivity and phrasing
do justice to what the lyrics are say-
ing. Ralph Burns conducts a large or-
chestra of strings and rhythm in his

own caressing, romantic-mood arrange-
ments. The choice of tunes is superb,
including a particular gem, “Round
About,” recorded here for only the
second time.

“Swingin’ With Her Nibs” on Mer-
cury is just that. Miss Georgia Gibbs
swings through twelve standards,
backed by Buddy Weed on piano, Tony
Mottola on guitar, Jimmy Crawford on
drums, and Arnold Fishkin on bass.
Miss Gibbs’ sophisticated sound makes
the most of the tunes, and her im-
pressive feel for the beat genuinely
justifies the album title. Glen Osser did
the arrangements.

M-G-M’s “Am 1 Blue?” is Betty Madi-
gan’s first venture into the world of
LP. Out of the endlessly rocking cradle
nurturing new vocalists, Miss Madigan
steps forward with a delightfully
straightforward approach. Although
the content lacks variety, Miss Madi-
gan has a delicate, perceptive pop
appeal. She realizes the value of dy-
namics and injects this into the collec-
tion. Included in the dozen selections
are the title tune, “I Get Along With-

out You Very Well,” “Love, You Funny
Thing,” “Everytime,” “I’ll Never Be
the Same,” “Please Be Kind” and
“Trouble Is a Man.” The obvious con-
clusion is that this first LP deserves a
second.

Critics have said that Tony Scott’s
clarinet successfully bridges the gap
between swing and extremely pro-
gressive music, and his new album for
RCA Victor proves it. “The Touch of
Tony Scott” is swinging, imaginative
jazz. Such numbers as “Rock Me But
Don’t Roll Me,” “The Jitterbug Waltz
in Four” and “Yesterdays” demon-
strate Tony’s control of big band
music. One of the featured quartet
numbers in the album, the “Aeolian
Drinking Song,” swinging from start to
finish and building to a frenzied pitch,
is destined to become a jazz classic.
Tony’s background includes study at

the Juilliard School of Music. Years at
the feet of such jazz greats as Charlie
Parker and Ben Webster have endowed
Tony with a dazzling technique, com-
bined with a deep respect and feeling
for America’s native roots, the folk
music that is jazz. He displays here the
talent which marks him as the world’s
top clarinetist, so recognized by all
leading jazz critics.

“Dinah Washington in the Land of
Hi-Fi,” on EmArcy, is a 100-proof,
bonded antidote to the affected line of
pink gin, female jazz singers of the
past couple of years. Dinah is a shouter
with a beat that can shake bridges.
In everything she sings there is the
earthy honesty of the blues. Dinah is
becoming more and more effective on
standards; invariably, her interpreta-
tion is fresh and invigorating. Among
the standards are, “Our Love Is Here
to Stay,” “My Ideal,” “I’ve Got a Crush
on You” and “If I Were a Bell.” Dinah
is a bell, a big brass one; one, fortu-
nately, that nothing can muffle.

Odds and Ends:

Dave Brubeck has returned to the
San Francisco area for bookings until
the end of March, when he will leave
for other parts of the country. Among
his new originals which will comprise
! his next album are “Histoire du Boy
Scout,” “Ode to a Cowboy” and “Tea
Down Yonder for Two.” . . . Three
movie companies, including Warners
and Paramount, are interested in the
George Shearing autobiography. . . .
Ted Heath is expected to grace Amer-
ica with another visit in February,
when he will be on an exchange tour
with Count Basie. . . . For you lucky
Californians, Billie Holiday returns to
Jazz City in February. . . . When you’re
at Hermosa and feeling two-beaty,
don’t pass up Tom Riley’s Saints
smacking it out at the Inn on Pier
Avenue. . . . Art Pepper will have a
Contemporary album soon with an
octet and smaller combos featuring
Conti Candoli, Frank Rosolino and
Hampton Hawes. Don’t miss this one.
... In Montreal, Marian McPartland
will be at the Circus Lounge for two
weeks beginning January 28th. Fol-
lowing her will be Don Elliot for three
weeks beginning February 11th. . . .
In Washington, D. C., billed as “Jazz
for Moderns,” the Teddy Carter quar-
J tet is due for a long stint at the Village
i Inn. ... In Chicago, Barbara Carroll
will be at the London House in Febru-
ary. At the Blue Note in Chicago, Dizzy
! Gillespie and Oscar Peterson are
booked for some time in February and
March. . . . Dolores Gray will star in
a new musical, “But Not for Mar-
! riage,” scheduled to open in April in
i New York. Louie Bellson wrote the
music and Phil Lang, who orchestrated
the score of “My Fair Lady,” is set to
arrange Bellson’s music. Sounds good!

He'll Never Win an Oscar

( Concmuedt from page 52)
he would be more euphoniously known as
Cary Grant. Indeed, it has irked him, since
Cary Grant’s notion of screen acting is
vastly different from that of the press or
public.

So, for that matter, is Cary Grant’s no-
tion of everyday behavior. But it is only
recently that Mr. Grant has got around to
unburdening himself on these and a few
other subjects. Apparently, up to now, no
one remembered to ask him

One day in the late winter of this year,
Grant sat himself down behind a pot of
tea — since a vicious attack of hepatitic
jaundice, he no longer drinks or smokes —
and answered anyway. He was a little
harassed by time and pressure. In a few
days he would leave for Spain and the
making of “The Pride and the Passion” for
Stanley Kramer. Frank Sinatra and Italy’s
Sophia Loren would also be among those
present, but Grant’s was the bedrock name.
He’d been setting in order a house in Palm
Springs and a house in Beverly Hills. But
he behaved like a man who had not a sin-
gle urgent engagement until 1960. He is a
singularly courteous, uninhibited fellow.

IVIention inevitably was made of the then
upcoming Oscar awards, and he smiled
whitely beneath his somewhat graying
hair and above his rather full chin. “I
won’t win it,” he said equably. “Not that
I’m nominated, of course. But when I say
I won’t win it, I mean now or any other
year. I don’t say I should, and I have
nothing but respect for the nominees. But
‘acting’ by today’s critical lights has some-
thing to do with facial acrobatics and miss-
ing teeth. Light comedy has no more chance
than the man who keeps his features still.
You know, any amateur can black out a
tooth, stick on a beard, and pretend he’s
something he isn’t. The tough thing, the
final thing, is to be yourself. That takes
doing, and I should know. I used to be Noel
Coward. Hand plunged in the jacket
pocket, you know. It took me three years
to get that hand out of there, and they
were three years wasted. Noel Coward is
great at being Noel Coward, but the role
I do best is Cary Grant.

“In fact,” says Mr. Grant, “the same gen-
eral idea goes for everyone under every
circumstance. But it’s so hard for people,
especially the young, to find it out. You
see a girl enter a party or any kind of
crowded room. In a moment, she goes into
a role. Her hand touches her hair. She does
something meaningless with her arms. Her
natural poise has deserted her so she’s
superimposed another poise. If she’d simply
stick to being herself, she’d be a hundred
times more charming. But that’s something
she’ll have to learn. I doubt that it can be
taught.”

Grant, oblivious to the double-takes of
fellow-diners who by then realized they’d
flushed a screen star, poured more tea and
re-routed himself to the original subject
of Oscars, cutting across a few hilly digres-
sions to head them off at the pass.

“So I’ll never get one,” he said. “I had
a crack once. Instead of a droll fellow in a
dinner jacket, I was a psychopathic mur-
derer. Picture called “Suspicion.” But
when it was over, my poor victim got the
statue. Joan Fontaine. That’s when I folded
my tent and stole away.

“Really, though — and this isn’t sour
grapes — actors know the problems of acting
and no one else does. Not fully anyway.
Well, how could they? A fan letter from
Ethel Barrymore would be worth more to
a player’s self-esteem than a thousand
good notices. The truth is, not many critics
know what they’re talking about. That’s

an observation, not an indictment. They’ve
been kind enough to me. But they just
don’t know. It’s what I’ve been talking
about. Let a player roll his eyes and chew
scenery and the critics get excited. They
dig up that one about ‘submerging him-
self in the role,’ and I guess by inference
curl their lip at Cary Grants. So all right.
But they still don’t know what they’re
talking about. The stage — that’s something
else. But on film, the actor who controls
his face and plays himself — he’s the one
who’s learned his business.”

On reconsideration, the reference to the
stage suddenly agitated Mr. Grant’s bile.
He’s done the stage bit himself, and pre-
sumably knew whereof he spoke.

“Now there’s something,” he said.
“Broadway’s assumption of superiority to
Hollywood. There is something. And the
gifted young men — and they are gifted,
more times than not — come here from there
and promptly fall apart on the simplest
take. Because they know nothing of the
making of pictures. Where they had a
whole stage to work on and could cover
for a multitude of errors, here the smallest
mistake screens as a cataclysm. And I can’t
tell you how many mistakes you can make
in one close-up scene. I can’t even show
you because it would take too long.”

But there was time for seventeen tech-
nical errors, which he demonstrated in
rapid succession. “I’m before a camera
now. It’s a close shot, necktie up. You’re
— oh, Grace Kelly. I say to you: ‘I’m here
today, gone tomorrow.’ That’s all. And
take a sip of water somewhere in between.”
He spoke the line and went through the
business. At the end of each take, he said:
“But I can’t do it like that. Setting down
the glass, I drowned out a word. And I
can’t do it this way. Did you see why?
I’ve a double-chin and forgot to hold it
up. This time I’m holding the glass so an
arc-light’s reflected in it. Broadway
wouldn’t know about these things.”

Did Grant, then, as an established star,
have doubts about those who were coming
up so fast behind him, the Rocks and the
Tabs, the Rorys and Tonys?

“No!” he said. “In fact. I’m glad you
asked me that. I’m with them all, and I
know what they’re going through because
I went through it once. I was talking about
technical deficiencies. No, these kids have
it and they’re going to deliver it. Their
problem is one of concentration, utter
concentration. There’s so much, when
you’re on the way up, to distract you. So
many trimmings and trappings. And all
necessary. Makeup, publicity, photog-
rapher, that first self-consciousness at be-
ing a more or less public figure — oh, every-
thing in the world. Including the fear you
might not stay on the streetcar. I’ll come
to that. But in spite of it all, their big job
is to concentrate, learn their business, and
forget the rest while that’s going on.

“See, if you can’t do that, you’ve really
got a problem. I mentioned Grace Kelly.
Of course, we’ve lost her now. But con-
centration/ That girl could study a script
with a house burning down around her.
And when she’d finished, she’d know every
nuance and every thought the character
had to have. That’s only one of the things
that made her great. Bergman had it, too.
The big ones all have it. I know someone
once asked Spence Tracy what the first
important thing was a young actor should
do to get a foothold in this business. I
imagine they expected one of those faith-
and-courage answers. But Spence just
looked up for a second and said, ‘Well, it
might be a good idea if he’d learn his
lines.’ He wasn’t kidding a bit, either. I’m

not running down faith and courage, but
learning your lines is at least just as
practical.”

And what about the streetcar bit?

“The streetcar bit,” said Grant. “It’s my
visual apparatus for the Hollywood scram-
ble. The streetcar fills up in the back and
empties out the front. And there’s only
room for so many. It’s a precarious sort of
streetcar. Call it Aspire. Call it anything.
When I first jumped on the back and was
hanging on the rail for dear life, the ones
up front in the aisle seats were people like
Richard Barthelmess. You know? Well, I
hung on like mad and shoved and pushed
and finally had a little room with the
standees on the rear platform, and I
thought, well, so far, so good. Then I
looked behind me and there was another
crowd trying to get on. And a few of them
do and that shoves you up a little further
toward the front. Gary Cooper got on
about the same time, I think, only a little
earlier, but he’s the one nobody’s shoving.
Coop sits there with his legs stretched out
and lets people trip over him.

“Then all of a sudden you hear a shout,
and someone yells back to us in the rear,
‘Hey, So-and-So’s fallen out the front!’
And that’s the last you hear of So-and-So.
That streetcar represents Hollywood to
me, and where I am now I won’t guess.”

About three-quarters forward with a
snug seat at the window?

“That’s a comforting way to look at it.”

Yes. But there is also the possibility
that the point does not really concern
Grant to any great extent. At a youthful
fifty-two and in his full streetcar status,
Cary Grant is thought by his friends today
to be bearing away on a course parallel
to stardom rather than toward it. That
is, his career has come to have more sig-
nificance to him as a means than an end.

“I don’t think,” an intimate observed of
him recently, “that Cary wants to work
his head off any more. Say three pictures
every two years, and the rest of the time
traveling or just taking it easy and boning
up on the civilization he lives in. His
horizons have broadened — and God knows,
he isn’t hungry any more.”

Nor are these the only changes evident
in the man. The younger Cary Grant was
a fellow with a considerable range of
mood, from a kind of euphoric gaiety to
numbing, surly depressions. These last
were particularly apparent after the break-
up of his marriage to Barbara Hutton
Reventlow, which had a tragic quality of
its own. Of all the unions this unhappy
woman has essayed, that with Grant
seemed to have had the best footing. From

her, Cary Grant neither wanted nor
needed a single thing; this made him dis-
tinctive in the ranks. No one doubts that
he loved her, and most think this love was
tinged with a measure of tenderness that
could be called pity. Assuredly he wanted
to see the marriage work. Just as cer-
tainly, he exerted a heroic effort toward
that end.

But he failed. Or someone failed. Or
something. Miss Hutton was said not to
be terribly fond of Cary’s friends, for ex-
ample; and not exactly overwhelmed by
Hollywood, when she saw it against her
haut monde playgrounds in Europe.

Cary and Barbara were married on July
8, 1942, in a ceremony at Lake Arrowhead,
and Grant at that time was a gregarious,
earthy sort of chap who liked Cockney
dialect, sang ribald songs to his own piano
accompaniment, and talked incessantly —
as on occasion he still does. “You’ll find
me a fertile subject,” he told an inter-
viewer recently. “I gabble on like a New
York cab driver.”

But when the two were divorced a little
more than four years later, Grant went
into periods of dark silence, and strange
phases of passing friends without recogni-
tion. His habitual expression became a
glower, and friends guessed he had reached
a point of view that could be summed up
in the words: Success is a phony and at-
tainment absolutely pointless. Well, it is
possibly not a very healthy way to feel.

But, as history well knows by now,
along came a young actress named Betsy
Drake, and to him she was the redemp-
tion of everything, most conspicuously
love and hope. They met in 1948 and
were married as soon as humanly feasible.
She is Cary’s third wife — his first was
Virginia Cherrill, a 1934 union that lasted
two years — and by any reasonable betting
odds his last one.

“I love her so much,” Grant said a few
weeks ago, “that for once, words fail me.”

Now the moods and depressions are gone,
the gaiety less hectic. With maturity (and
Betsy) has come an amiable mellowness,
together with an inclination to stay home
and investigate in more detail what goes
on between the covers of books. Home is
high in the section of Beverly Hills that
really is given over to hills, the suburban
extension of a flatland of box hedges and
well-manicured lawns. Here the Grants
live quietly, staying away from television
a good deal of the time, while Betsy reads
or putters and Cary continues his scholarly
pursuit of what the hypnotists are up to;
a subject, by the way, that interested him
long before Morey Bernstein took out
after Bridey Murphy.

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There was a time, according to asso-
ciates, when Grant drove too conspicuous
cars at too many miles per hour. Now he
drives modest, middle-priced cars at a
sedate pace, staying over in the right-hand
lane and rarely moving to pass the slowest
deterrent to his progress.

“Cary,” a friend has said, “even if he
was late to a party, wouldn’t pull out to
get around Don Wilson pulling Jackie
Gleason in a rickshaw.”

Our newly tranquil Mr. Grant was born
in Bristol, England, on January 18, 1904,
the son of a clothing manufacturer and
grandson of a British actor of some repute.
Cary himself thought at an early age he’d
like to follow Grandpa’s steps, but he like-
wise thought he’d like to be an electrician.
Presently, while he was still not much
more than a child, a chance to bracket
the two arose. He conceived a new theatri-
cal lighting effect and took it to the man-
ager of Bristol’s Princess Theatre, who
was delighted. He even installed it.

And thus a bridge was crossed. The
lighting device was the last Grant was
ever to create, but the theatre became his
love forever. At thirteen, he broke out of
the home corral to join the troupe of one
Bob Pender, a group that specialized in
eccentric dancing, stilt walking, clown
routines and pantomime. Cary had been
with it four weeks when Leach pere
dropped around and dragged him home
by the scruff of the neck.

Eighteen months later, however, our
hero escaped again, rejoined Pender, and
got his father’s blessing.

Now Grant was a knockout comic —
strange apprenticeship for the economy
of style and motion he later was to evolve
— and the company played the Hippodrome
in New York. The year was 1920 — and
nothing happened. But back in England,
something did. Grant, singing now, was
noticed by producer Arthur Hammerstein,
who brought him back to the States for
“Golden Dawn.”

Grant remained on Broadway for a suc-
cession of musicals: “Polly,” with Fred
Allen and Lady Inverclyde; “Boom Boom,”
with Jeanette MacDonald; “Street Singer,”
with Queenie Smith; and “Nikki,” with
Fay Wray and Douglass Montgomery.

“I got by in New York,” he has lately
recalled, “but it’s hard to say just why.
Because I had black hair and white teeth,
I guess. Looking back now, I can’t account
for it any other way. But I found out one
thing: The stage actor who yells that he
can’t be bothered with Hollywood — that
guy already has his bags packed. And the
louder he yells, the bigger his hope chest.”

Grant, who has admitted from the first
he had his bags packed, motored to Cali-
fornia after “Nikki” closed, and by and by
was playing straight to a promising actress
for a Paramount screen test. And as hap-
pens now and then, the lady turned out to
be not so promising, but the stooge caught
a few influential eyes.

They became ayes as well, which leaves
us with very little more to say that is not
a matter of record.

Grant, who became an American citizen
on June 26, 1942, and meanwhile took time
to legalize his more famous name, enjoyed
a success that for its unbroken nature has
proved somewhat monotonous. Not to
him, though.

He also enjoys tennis, badminton and
swimming, roughly in the order named,
but professes no hobby in particular. Still,
there is ample time for him to find one.
Outdoor dinner parties featuring barbecued
critic, for instance, might prove just the
thing. The End

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How to Have the Bustline You Want

( Continued from page 65)
tone up the muscles of the chest and
shoulders, and to tighten the abdominal
muscles.

Do pushups regularly to aid posture and
strengthen chest muscles. Three special
exercises: Stand with arms extended side-
ways (see bottom row, first girl, page 65)
and bring forward, repeating five to ten
times.

Then, with arms sideways again, rotate
arms, keeping elbows stiff. Now study the
last two girls. These are your positions for
the final exercise, consisting of raising the
hands high above the head and lowering
them to shoulder level in a steady rhythm.
For best results I recommend the use of
dumbbells or weights in the hands.

Remember, the secret of effective ex-
ercise depends on regularity (every day
for reducing, alternate days for building).
Begin with a ten-minute routine and work
up to twenty, never exercising until at
least two hours or so after a meal. The all-
important Don’ts: Don’t bathe directly
after a workout. Don’t overdo it. Don’t be-
gin exercising without your doctor’s okay.
Most of all, don’t get discouraged. Your
rewards will come. —Terry Hunt

Poor posture causes not only sunken
chest but protruding head, abdomen

Correct protruding hips and other
posture defects with regular pushups

How to Choose and Care for Your Bra

Small bosom bra should be lightly
padded with foam, or have small pads
set in the undercups for prettier con-
tours. Bandeau type is good basic , with
narrow underhand to keep it in place

Average bosom bra should hold the
bust firmly in place following the na-
tural contours, not too pointed or too
round. Four-section cup is suggested
for fit. It should anchor firmly at back

Full figure bra should have cups full
enough to hold entire bust firmly with
good separation, be as wide under the
arm as bosom itself. Deep underhand
style gives best support, smooth midriff

Improving your bustline is only half the
story. To make the most of your natural
assets, you need a good bra. Photoplay
sought the advice of Edith Head, designer
for Paramount Pictures and winner of
several Academy Awards, and compiled
the following suggestions, endorsed by
Miss Head’s chief corsetiere, Bessie
Lowery:

A bra should hold the bust firmly in the
position in which it grows from the body.
Thus, the points of the bosom will be half-
way between elbows and shoulders. The
bra should provide neither a too-pointed
nor a too-rounded look, should fit the nat-
ural contours, and should not ride up in

back. Pulling the straps too tightly limits
bust separation and may give an abnormal
“shelf” look; too loosely will provide in-
sufficient support. Never let the straps cut
into the shoulders.

The proper width of the bra is also im-
portant. Width under the arms should
approximate width of the bust itself, in-
suring firmness.

The girl with the tiny bust may wear a
lightly padded bra or small tapering pads
lining the undercups, for pretty new con-
tours.

The too-large bust must always be sup-
ported properly by a deep-cup fit to pre-
vent ugly bulging under the arms. The

bra must also avoid pulling the breasts
tightly together, because the divided look
is much healthier and far more attractive.

To wash your bra, use lukewarm water
and mild soap, applying a hand brush to
scrub out the dirt. Never put a bra into
the washing machine; even hand-rubbing
breaks down the fibers of the material.
If your bra has picked up dye from a
dress and requires a bleach, be careful
not to use a strong one. A mild color re-
mover is a safer procedure, particularly
with nylons. To dry, hang your bra by the
straps, stretching out as many wrinkles
as possible. Press with a moderate iron
and a damp cloth if necessary. The End

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What Ever Happened To That Nice Couple Next Door?

( Continued from page 43)
restaurant, Jack waves a quick and hu-
morous hand to move the professional
piano player away from the keyboard.
Then he takes over, for a brief moment
looking exactly like the slap-happy Ensign
Pulver of “Mr. Roberts.” Already the on-
lookers are laughing appreciatively.

Jack grins at his audience. But as they
turn back to their drinks and their din-
ners, his face sobers and saddens. He
goes into a swing number, softly; one
called “I’m With You.” Then he modu-
lates into a sentimental tune called “Now.”
These are songs of his own composition,
which he wrote several years ago for a
musical which was never produced.

As he sits at the piano strumming, he
seems to forget the time, the place and,
most particularly, the girl.

At these moments, he is not the funny
Ensign Pulver. Nor is he the zany young
fellow he was a couple of years back at a
certain Compo luncheon.

Compo is an inner-Hollywood affair,
which each year nominates the most prom-
ising new players. At that luncheon, Jack
had been called on stage with Tab Hunter
and George Nader, two of the other win-
ners. There the three of them stood, when
Rita Moreno was called forth. Tab and
George gave her friendly smiles as she
walked toward them, but Jack was visibly
transfixed, his big eyes taking in every
delicious curve of the Moreno figure. Nat-
urally, Rita got it quickly and wiggled
exactly the right amount as she approached,
whereupon a low wolf whistle escaped
Jack. This moan of pure masculinity
brought down the house.

No, these nights around Hollywood, Jack
rarely reveals this dashing side of his
nature. But neither is he the rather tense
young man he was last spring, when he
and his wife first broke up. Then, the
worry evident in his voice, he said that he
“hoped it would be all right.” Before that,
he had been the doting young father,
telling stories about his small son, Chris.
He’d stop you on the street or at a party
to tell you such sweetly innocent things
as how Chris had stood at the window and
addressed the sky, saying, “Moon too high
for boy. Come down, come down.”

But these evenings, since Cynthia has
gone ahead with her divorce action, you
can see that Jack is fluctuating among
many moods. He now has a swank bach-
elor house in the most exclusive section
of Bel Air. He drives a dashing red
Thunderbird. And he is casual— much
too carefully casual — as he explains that,
though divorced, he and Cynnie, as he
calls her, are still such good friends that
they baby-sit for one another. Cynnie
for him when he has a date with another
girl, and he for Cynnie when she has a
date with another man.

It was last summer, while Jack was
making “Fire Down Below” on the island
of Tobago, that I first comprehended what
was going on — that Jack Lemmon was
probably acting as much for himself as he
was for audiences, trying to persuade him-
self that he was happier than he is, that
he could do anything, and hadn’t a care
in the world.

Superficially, it was great. Career-wise,
he was hot as a tin pistol. His contract
with Columbia is one of the best. It even
permits him to make outside pictures like
“Mr. Roberts” and collect his own salary
on them. It would have been perfect — if
P only, just a few weeks before his Tobago
location, he and Cynthia hadn’t separated.
This was a real Hollywood shocker, be-
cause the Lemmons had seemed such an

ideal young couple — popular, well-off,
well-bred, intelligent. Their future looked
platinum-plated, until they agreed to part
and neither of them would tell why.

Of course there had been some buzz
around Hollywood when, at the exclusive
Robert Mitchum dinner-dance last spring,
Jack, who had come stag, had been seen
dancing almost every dance with June Al-
lyson, his co-star in “You Can’t Run Away
from It.” But nobody took ^hat seriously,
since Jack and Dick Powell and June were
obviously all such good friends. Further-
more, both Cynthia and Jack said they
had no immediate plans for divorce. It
was, they said, merely a separation.

By mid-summer, however, when Jack
was in Tobago, the rumors that he was
interested in beautiful Rita Hayworth
were being flashed everywhere. These,
I am here to tell you, were just more
quick conclusion-jumping. I know, be-
cause I went down there, stayed for a
long, dreamy week with the “Fire Down
Below” company and saw Rita ar.d Jack
day after day and evening after evening.

As a setting for romance Tobago is a
dream. The luxury hotel where the

★ ★

TO REACH THE STARS

In most cases your letters will reach
a star if addressed in care of the
studio at which he made his last pic-
ture. If you have no luck there, try
writing to each star individually ,
c/o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Calif.

Allied Artists, 4376 Sunset Drive,
Hollywood 27

Columbia Pictures, 1438 North
Gower Street, Hollywood 28
Samuel Goldwyn Productions,

1041 North Formosa Avenue,

Los Angeles 46

M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38
Republic Studios, 4020 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 West
i Pico Boulevard, Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City

Warner Brothers Pictures,

4000 West Olive Avenue, Burbank

company was staying is located on a little
hill, de:p in cocoanut palms. In one di-
rection stretches the jade-green Carib-
bean. In the other is the sapphire blue
Atlantic. The temperature is a constant
80 degrees, day and night, cooled by
scented breezes. Strange, wild birds sing
the whole night long.

The “Fire” company was a very congen-
ial one. Evenings, after the hard day’s
shooting far out at sea, they would all
gather together on the vast porch of the
hotel, for laughter, talk and cocktails. Rita,
vividly beautiful, her red hair flying
about her shoulders, would be there with
co-star Bob Mitchum, director Bob Par-
rish, producer Cubby Broccoli and Cub-
by’s wife, as well as the character actors
and the crew. Everyone was there, in
fact, but Jack.

Jack would be in the hotel parlor, at

the piano. Actually this kept him within
sight and sound of the others, since the
hotel has big open arches in place of the
usual windows and doors. All the same,
while the rest of the troupe were laugh-
ing and chatting together, Jack Lemmon
would be alone, playing those nostalgic
compositions of his.

On a tropical island under a tropical
moon, with one of the most beautiful
women in the world present, Jack Lem-
mon stayed alone. If that’s not carrying
a torch a mile high, you name it.

But Jack wouldn’t admit the torch then
and he won’t admit it now. In many ways
this comic fellow is unaccountably moody,
quixotically stubborn, and unpredictable.
It is like his growing up a rich boy and
then, when he decided to become an actor,
nearly starving himself to death while he
lived in the cheapest of New York’s mis-
erable cold-water flats. Then there was
his taking Cynthia to the Automat for
dinner on their first date together — the
Automat is practically New York’s cheap-
est eating place — when it turned out that
he could afford even that only because he
had gone without lunch. And there was
the ridiculous way he and Cynnie, when
they arrived in California, moved into
such an enormous house that they couldn’t
afford any furniture for it or any servants.

Mixed up in all this, in a way express-
ing it all, is Jack’s piano playing. He
said to me, “This is just something with
me. Unless I can get to hitting the keys
at least once every day I become restless
and depressed for no good reason.” On
screen he’s a very glib talker. Off screen
he is not. Speaking of his music, he had
to pause. Then he added, “I write — or I
try to write — a song nearly every day. I
can’t put into words how much I want to
write a hit tune. Someday I will.”

But just why he wants this he doesn’t
seem to know. Another of his complex
sides rises when it comes to his acting.
He is a superb comedian, but he hates
to be known as one. He wants to be
known as a serious Actor, with a capital
A. That’s why he was so delighted about
his role in “Fire Down Below”; it was
serious in every frame. And he was even
more delighted about a TV show he did
in which he played Abraham Lincoln.

Even when he talks about his war
service — and he does it amusingly — he is
actually emphasizing this quality of his
nature. In this case, he was quite inno-
cently put into a false position and
emerged from it with what looked like
heroism and brilliance. He feels he ap-
peared to be something which actually he
was not.

Jack, who grew up in Brookline, Massa-
chusetts, the very, very fashionable sub-
urb of Boston, and whose father was and
is the vice-president of the Doughnut
Corporation of America, went to Harvard
for his Naval training. He emerged an
ensign and was put into communications
and sent to sea almost at once. Only he
hadn’t had any training in communica-
tions. He couldn’t have read a signal flag
if it had come up and clunked him.

A mere ensign, as every mere ensign
knows, doesn’t complain of such things
to hie superiors. Ensign Lemmon did not.
And thus, one day, he got a fast call from
the bridge to read a message which an
approaching vessel was flashing. Desper-
ately Mr. Lemmon looked at the flutter-
ing signals. Desperately he gambled.

“Sir,” he said, “the vessel wishes right
of way.” By the grace of heaven, that was
just what the other ship wanted. By the
grace of heaven, each ship moved just in

time to avoid a collision. Later, the com-
mander said, “Well done, Mr. Lemmon.”
Shortly thereafter Mr. Lemmon was trans-
ferred to a shore base and never was a
man happier.

In actuality, however, this was Jack’s
luck holding again — and his holding his
tongue about it was typical, too. So was
his nearly starving when he got out of
service and came to New York to try to
be an actor. He could perfectly well have
borrowed the money from his rich father
or his adoring mother. He stuck it out
on his own, however.

Cynthia was the same type of girl. Born
Cynthia Stone, she, too, came from folks
blessed with much more than the average
possessions. Yet she seems always to have
been willing to share the wild kind of
thrift which Jack persisted in, originally
in New York, and later when they both
came to Hollywood. They first met in
1947, were married in 1950 and in 1954
1 Chris was bom. In between there were
more than 500 TV shows for Jack. There
were almost that many for Cynnie. She
was, in fact, more important in radio and
TV circles than Jack, and she taught him
. many a trick about using his voice.

Back there, in the days of their court-
ship and the first years of their marriage,
i i they had everything in common — ambi-
i tion, laughter, hard work, and their self-
imposed poverty. They could dine to-
gether because Jack had a side job as
checker for a restaurant chain, and had
to go from cafe to cafe to test out the
food. Once they were married, they co-
il starred in and produced three different
i TV series. They were convinced nothing
' would ever part them.

In 1951, after a series of flop plays, Jack
was signed by Columbia for Judy Holli-
day’s picture, “Phffft.” Joyously he and
t Cynnie came West, got the big house, in
which for a long time they had virtually
i no furniture, did all their own work, in-
> eluding the housework, cooking and gar-
i dening, and waited for the baby.

But the closeness they had shared began
to evaporate, at first slightly, then more
and more. Cynnie was home, too often
i alone. Jack was at the studio or some-
r where else, recording or whatever, and
} the whispers were that he wasn’t always
I' alone. Last April the blow-up came.

Jack said, very dignified, “We just
haven’t been able to get along together
i and we thought this would be best for our
| child. Neither of us is considering a di-
| vorce, but there is no thought of any
reconciliation. There is no other man or
other woman.”

That’s what the man said — in April. But
in June, in Tobago, he was saying he
I “hoped everything would be all right.”

I In October, Cynnie filed for her divorce,
1 charging incompatibility, and in the be-
ll ginning of the winter they were talking
i! about what good friends they were, with

tboth of them being most careful not to
say one word that might hurt the other.
Which is really a hopeful sign. For in
t this they are like the Jeff Chandlers, who
fc separated, and reconciled, and separated

1 again and were to have it “all over” —
except that they couldn’t stop thinking of
one another’s feelings, or about their
| children.

(Under his natural charm, beneath the
drive of his intense ambition, it’s plain
that Jack Lemmon is not happy. Just as
Jeff Chandler wasn’t.

Jeff went back and Marge Chandler
1 forgot past hurts for the sake of a future
happiness. I hope it works out the same
way for Jack Lemmon and his Cynnie and
their Chris. The End

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Announcing

( Continued from page 19)

Eddy Duchin Story,” then an arresting dramatic job in
U.A.’s “The Man with the .Golden Arm.” Among run-
ners-up. Doris Day scores outside her one-time musical
bracket, with acting hits in “The Man Who Knew Too
Much,” for Paramount, and “Julie,” for Metro. Debo-
rah Kerr’s queenly manner in 20lh’s “The King and I,”
Paramount’s “The Proud and Profane” and M-G-M’s
“Tea and Sympathy” brings her into the winners’ cir-
cle, too. Though Janet Leigh made only one 1956 film,
Columbia’s “Safari,” her fans voted her a top star of
the year. While working on a little production of her
own, Debbie Reynolds turned in a nice performance
for M-G-M’s “The Catered Affair” and is currently
in RKO's “Bundle of Joy.”

Male runners-up include Yul Brynner, a dazzling
new personality in 20th’s “The King and I” and
“Anastasia.” and a commanding performer in Para-
mount’s “The Ten Commandments.” Tony Curtis re-
tained his hold on moviegoers’ affections with U-I’s
“The Square Jungle” and “The Rawhide Years,”
strengthened it with U.A.’s “Trapeze.” Showing his
known versatility. William Holden remains a top favor-
ite, applauded for Columbia’s “Picnic,” Paramount’s
“The Proud and Profane,” Warners’ “Toward the
Unknown.” A comparative newcomer, George Nader
has built a solid fan following with U-I’s “Away All
Boats,” “Congo Crossing” and “The Unguarded Mo-
ment,” and he clinches it with “Four Girls in Town.”

Nine runner-up movies join “Giant” in the Gold
Medal festivities: “Away All Boats,” “The Eddy Duchin
Story,” “Friendly Persuasion,” “The King and I,” I
“Picnic,” “Somebody Up There Likes Me.” “Tea and
Sympathy,” “The Ten Commandments” and “Trapeze.”
Ten young players are tabbed as stars likely to shine
with new splendor in 1957: Carroll Baker, Jayne Mans-
field, Vera Miles, Susan Strasberg, Natalie Wood, John
Kerr, Paul Newman, Anthony Perkins, Elvis Presley •
and Robert Wagner. While celebrities cheer the win-
ners in person, air waves also carry the good news. On
Lux Video Theatre (NBC-TV, February 7th, 10:00 J
p.M. EST) Gordon MacRae hails players and movies j
that you, the readers of Photoplay, have elected.

Continued on page 84

Top Gold Medal star in 1956, W hen Photoplay readers

Bill Holden is still in there chose George Nader as a fu-

pitching, a sure bet for 1957 ture star, they got a winner

Once the sunny singer , Doris Always the lady, Deborah Kerr

Day dispensed suspense in the is also all woman, and that's

year 1956, kept fans’ loyalty forever a surefire combination

A new mother this year, Janet
Leigh joins husband Curtis as
a runner-up for Gold Medal

Call her Mom. too, and read-
ers call Debbie Reynolds an-
other of their best-loved stars

IF ho needs hair? Yul Brynner
doesn’t. This virile newcomer
won out in his first film year

Tony Curtis, too. got acting
plaudits by sacrificing ample
locks, crew-cut in “Trapeze”

PHOTOPLAY’S
Award Winners of 1956 -’57

away all boats (U-l): Jeff Chandler
and George Nader were among the gal-
lant Navy men in this fine sea saga

the king and i (20th): As teacher to
Yul Brynner’s children — and wives —
Deborah Kerr felt a deep involvement

tea and sympathy (M-G-M): Caught
in a terrible dilemma, John Kerr found
an understanding friend in Deborah

the eddy duchin story (Columbia) : A
music-film gave Victoria Shaw, Rex
Thompson, Whitmore roles in Ty’s life

PICNIC (Columbia) : In a mellow mood,
Ro z Russell, Arthur O'Connell, William
Holden, Susan Strasberg searched souls

the ten COMMANDMENTS (Paramount) :
As Moses, Charlton Heston gave his err-
ing people warning of vengeance to come

friendly persuasion (A. A.): Dorothy
McGuire, Anthony Perkins and Gary
Cooper faced Quakers’ war problems

somebody up there likes me (M-G-M) :
Pier Angeli and Everett Sloane helped
Paul Newman come to terms with reality

trapeze (U.A.): As show people off P
duty, Tony Curtis, Burt Lancaster, Gina
Lollobrigida had personal difficulties

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Award Winners

Continued from page 83

STARS

carroll baker looked de-
ceptively colorless on her
first appearance, in War-
ners’ “Giant.” But in the
same studio’s controver-
sial “Baby Doll,” she
started a furor. In her
personal life, the slender
blonde is wife of director
Jack Garfein, mother of
baby daughter Blanche.

JAYNE MANSFIELD set no
worlds afire on her first
Hollywood try. But she
got lots of fancy publici-
ty after she landed an
important Broadway role.
Movies rewarded her with
“The Girl Can’t Help It.”
Also for 20th, she’ll re-
peat stage hit “Will Suc-
cess Spoil Rock Hunter?”

VERA MILES is prime bet
to take over the niche va-
cated by Princess Grace
Kelly. More actress than
glamour type, Vera’s the
director’s darling. You
saw her last year in “23
Paces to Baker Street,”
for 20th, and for Warners
both “The Searchers”
and “The Wrong Man.”

susan strasberc proved
with Columbia’s “Picnic”
that she inherited a full
measure of talent from
her famous dad, stage di-
rector and drama coach
Lee Strasberg. An onstage
click with “The Diary of
Anne Frank,” Susan will
play an ambitious actress
in RKO’s “Stagestruck.”

Natalie wood, a very
youthful movie veteran,
started out as a child
actress, but gained her
greatest acclaim within
the past year, thanks to
Warners’ “The Searchers”
and “The Girl He Left
Behind.” Also for War-
ners, she’ll star in the
air epic “Bombers B-52.”

OF 1957

JOHN kerr did a spectac-
ular double play during
the year 1956, with the
romance “Gaby” and com-
plex drama “Tea and
Sympathy.” Under con-
tract to M-G-M, the bril-
liant young actor jour-
neyed to Europe for his
latest role, opposite Pier
Angeli in “The Vintage.”

The gentle touch of

Hinds

PAUL NEWMAN made hi9
movie debut earlier, but
really came into his own
in 1956, with his startling-
ly different portrayals in
M-G-M’s “Somebody Up
There Likes Me” and
“The Rack.” Personally
a quiet young husband,
with two small children,
Paul’s striking on screen.

ANTHONY PERKINS, like
Paul, needed a second
try to make the grade.
Overlooked after his 1953
debut in movies, Tony hit
the jackpot with A.A.’s
“Friendly Persuasion.” A
Paramount player, he’ll
be given a star’s rating
with “Fear Strikes Out”
and “The Lonely Man.”

ELVIS PRESLEY was, with-
out a doubt, the show-
business sensation of the
year. The rock ’n’ roll
singer also turned out to
be competent in the act-
ing business, making his
bow in “Love Me Ten-
der,” for 20th. His next
is a Hal Wallis produc-
tion, Paramount release.

ROBERT wacner, once the
hottest young name in
pictures, did a smashing
comeback in 1956, daring
unsympathetic roles in “A
Kiss Before Dying” (U.
A.) and “The Mountain”
(Paramount), going dra-
matic in 20th’s “Between
Heaven and Hell.” His
new role is Jesse James.

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Burt tries to tell disheartened Katie that romance can he hers

The Rainmaker wallis, paramount; vista vision, technicolor

VVVV Funny, touching, lightly fanciful, this story of a farm
family gives Katharine Hepburn a thoroughly lovable role.
Resigned to her fate of spinsterhood, she keeps house for her
menfolk, all of whom are devoted to her, but keep insulting her
in their efforts to get her a husband. Only her father, splen-
didly portrayed by Cameron Prud’homme, truly understands
her. Young Earl Holliman does a stand-out job as the harum-
scarum kid brother, madly in love with pixie Yvonne Lime.
Like Katie, Earl is bullied by older brother Lloyd Bridges.
Suddenly, showman Burt Lancaster blows in at the drought-
ridden farm, promising to bring rain — and excitement. Is he
a faker? Should Katie marry him or sheriff Wendell Corey?
The answers are enchanting, yet sensible. family

HF.ST acting: KATHARINE HEPBURN

With Jack Mulhaney and pal Jeff Silver, James sweats it out

The Young Stranger rko

V'VV'V With his first movie, teen-aged James MacArthur is
marked as an actor to watch. It’s a thoughtful study of the
delicate relationships between father and son, husband and
wife. Jim plays a normally spirited young male, who gets into
a fight at a movie theatre, winding up in the hands of the law. {
Policeman James Gregory doesn’t believe the boy’s honest plea
of self-defense. But a worse blow comes when Jim’s father
proves equally skeptical. James Daly does a fine job in this
role, as a successful movie producer too busy to get to know
his own son. Disapproving, but ready to pass the incident off
as a prank, Daly merely puts pressure on theatre-manager Whit
Bissell to withdraw charges. Kim Hunter is sympathetic as
Daly’s wife, also neglected. family

LET’S GO
TO

THE MOVIES

WITH JANET GRAVES

VVVV EXCELLENT

VVV VERY GOOD

VV GOOD

V FAIR

BEST ACTING: JAMES MACARTHUR

The Girl Can’t Help It 20th; cinemascope, de luxe colob

VWV Call it cool or crazy, it’s wacky fun from start to finish.
It has lots of rock ’n’ roll. It has irresistible comic Tom Ewell.
It has sumptuous Jayne Mansfield. It has shrewd character
man Edmond O’Brien. As a retired but still prosperous rack-
eteer, Ed hires Tom, an unemployed agent, to make an over-
night singing star out of girlfriend Jayne. There’s a catch.
Jayne has a fantastic shape and a gait that makes her a one-
woman parade. But she can’t sing. Moreover, she doesn't want
a career; she’s an utterly domestic type at heart. From this
feather-light material is fashioned a continuously entertaining
comedy. Top musical personalities of the moment show up at
their best, and Henry Jones adds extra chuckles as O’Brien’s
gentle bodyguard. adult

Full of Life COLUMBIA

kVW Here’s a new sort of vehicle for Judy Holliday, a warm
and tender close-up of a family with endearingly everyday
problems. Wife of writer Richard Conte, Judy’s about to have
their first baby. Checks haven’t been coming in. and the couple
can’t even afford to have needed repairs done to their house.
So Dick’s old man, heartily portrayed by opera star Salva-
tore Baccaloni, is called in to use his skills in stone-masonry
and bricklaying. Judy and her father-in-law get along fine. But
Salvatore is resentful because his son hasn’t followed the family
trade, and Dick feels the typical second-generation embarrass-
ment over his dad’s old-country ways. Though there are laughs
aplenty, they aren’t of the artificial sort, but founded firmly in
character and believable reactions. family

Sydney and George keep Gia Scala, Marianne Cook in suspense

Four Girls in Town u-i; cinemascope, technicolor

V'V'V For once, Hollywood takes a quietly realistic look at itself,
with sly wit, but without burlesque. There’s a talent hunt on
to find an unknown as replacement for a temperamental star in
an upcoming epic. Would-be director George Nader is assigned
to handle the tests for the four young candidates, and he begins
to feel personal interest in their situations. Julie Adams, only
American in the quartet, has been pushed toward an acting
career by her mother. Gia Scala has left a husband and child
in France, to pursue her ambition. Italian Elsa Martinelli, a
pert and smart little cookie, needs nobody’s advice. Austrian
widow Marianne Cook comes out of her despair when George
persuades her to help Sydney Chaplin, writer who’s hitting the
bottle after losing self-confidence. adult

Continued

Against Gielgud, Virginia McKenna and Jennifer are helpless

The Barretts of Wimpole Street m-c-m; cinemascope,

metrocolor

V'V'V'V’ One of the world’s great love stories again reaches the
screen, with Jennifer Jones as Elizabeth Barrett, Bill Travers
as Robert Browning, John Gielgud as Edward Moulton-Barrett.
This last character is so much the ogre that it’s on the verge
of being funny — but Gielgud’s assured performance makes the
man frighteningly real. He’s the worst of Victorian fathers,
keeping his six sons and three daughters utterly cowed. Jennifer
is an invalid, confined to her room, and it’s soon clear that her
father, in his possessive affection, doesn’t really want her to get
well. As the fellow poet determined to rescue her, Travers gives
his debonair role a welcome light touch. Virginia McKenna is
charming as the young sister, fighting for her own romance
with a young soldier. adult

LET’S GO TO THE MOVIES Continued.

Bundle of Joy rko, technicolor

VW Nicely timed to celebrate their par-
enthood, the first co-starring vehicle for
Debbie Reynolds and Eddie Fisher has a
cheerful, disarming air. It’s a music-
trimmed remake of “Bachelor Mother,”
with Debbie in the old Ginger Rogers role
of the department-store employee who sud-
denly finds herself a mother, only because
she happened to pick up an abandoned in-
fant that was about to roll off the steps of
a foundling home. Very earnest but a little
awkward, Eddie does an acting debut as
the boss’s son. considered to be the father
of Debbie’s child. Adolphe Menjou is his
dad, eager to become a grandpop. family

The Wings of the Eagles m-c-m;

CINEMASCOPE, METROCOLOR

VW John Wayne stars in a strange movie
based upon the strange career of flyer-
writer Frank Wead. The story keeps shift-
ing gears abruptly, from Keystone Kops
comedy to tragedy, as the hero breaks
rules to show post-World War I Navy
brass the importance of flying, then is
crippled in a household accident. Playing
the loyal, waiting wife, Maureen O’Hara
gets tossed as far out of the June Ally son
pattern as possible. She smokes cigarettes
jauntily; she laps up highballs; she turns
to heaving crockery around when tension
gets too tight. As a paralytic, Wayne is
badgered into partial recovery by a Navy
noncom friend, Dan Dailey. When the
gallant cripple becomes a successful movie
scenario writer, Ward Bond steps in with
a kindly caricature of the movie’s own di-
rector, John Ford. World War II gets
Wayne into battle action, with some im-
pressive documentary clips. family

Edge of the City m-c-m

VVVV Simple and unpretentious, this
understanding drama about ordinary peo-
ple gives John Cassavetes and Sidney Poi-
tier deeply sympathetic roles. Because of
a family tragedy, young John thinks of
himself as an outcast. A wanderer, he has
cut himself off from his parents, even de-
serted from the Army. When he gets a job
handling freight in a New York railroad
yard, he begins to find healing in Sidney’s
easy, relaxed offer of friendship. Sidney

and wife Ruby Dee make him a welcome
occasional guest in their home, introduce
him to a shy young teacher (Kathleen Ma-
guire), who also helps him. The fact that
Sidney is a Negro has no bearing on the
friends’ relationship. But it does influence
Jack Warden, mean-spirited foreman, and
the consequences are ugly. family

The Great Man u-i

VVVV The TV industry gets a real sharp
going-over from director-star Jose Ferrer
in this glittering comedy-drama. By its
very nature, it’s full of talk, but all lively
talk. The story imagines that a top TV
and radio star, a folksy fellow, has sud-
denly been killed in a highway crash. As-
signed to do a memorial program on radio
— and perhaps to slip into the shoes of
“the great man” — Jose sets about getting

Jose Ferrer hears a revealing story from
Ed Wynn, owner of a small radio station

tape-recorded interviews from the co-
workers and old associates of the deceased.
Turns out they all hated the guy, with
good reason in every case. There’s excel-
lent acting in scene after scene (no flash-
backs) : Keenan Wynn, as the agent who
discovered the late star, then got the knife;
Julie London, as a slightly alcoholic singer
who was among his many girlfriends; Jim
Backus, press agent with no illusions; Ed
Wynn, foolish, touchingly idealistic owner
of a small radio station; Joanne Gilbert,
Jose’s overworked secretary. Ferrer him-
self quietly plays the observer. adult

Hollywood or Bust wallis, paramount;

VISTAVISION, TECHNICOLOR

VVV Starting off with a satirical salute
to the world’s movie fans (all imperson-
ated by Jerry Lewis), this pleasantly daffy
comedy casts Jerry as an Anita Ekberg fan
who wins a convertible in a theatre con-
test and is promptly Hollywood-bound. But
his crooked co-winner is Dean Martin,
gambler anxious to evade muscleman
Maxie Rosenbloom’s efforts to collect. On
their westward route, the oddly matched

pair picks up Pat Crowley, dancer headed
for a Las Vegas job. family

The Iron Petticoat m-c-m; vistavision,

TECHNICOLOR

VVV Similar in story line to the brilliant
“Ninotchka,” this should be classified
rather as a regular Bob Hope farce, giv-
ing Bob an unlikely teammate in the
sprightly Katharine Hepburn. Bob plays
an American flyer stationed in West Ber-
lin; Katie, a Soviet flyer who leaves her
native country in a fit of pique, without
any political discontent. As you may im-
agine, Bob’s brusque American approach
brings out Katie’s hidden femininity and
stirs up political complications. family

Don’t Knock the Rock COLUMBIA

VV Because agent Alan Freed has been
pushing too hard for publicity, singer
Alan Dale gets a rough reception when he
returns to the small town of his birth. The
blue-nosed mayor sets off a nationwide
movement to boycott rock ’n’ roll. Well,
that’s enough plot — and a pretty silly busi-
ness it is. But who cares about the story
when Bill Haley and his gang are in there
pitching? Also on hand are the Treniers,
Little Richard and other big names of
modern music. family

Istanbul U-I, CINEMASCOPE, technicolor

VV With the picturesque backgrounds of
the Turkish capital and the regal beauty
of Cornell Borchers, this melodrama of in-
ternational intrigue is a real eye-filler.
Errol Flynn plays an American adventurer
who falls in love with Cornell, loses her,
then meets her for a second time after she
has fallen victim to amnesia and married
another man. In all the melodramatic to-
do, Leif Erickson and Peggy Knudsen pro-
vide comic relief, as tourists. family

Zarak Columbia; cinemascope, technicolor
VV Other colorful locales (Spanish Mo-
rocco, this time) liven up an Eastern
Western. The setting is supposed to be
India of the last century, with Victor Ma-
ture as a daring outlaw, Michael Wilding
as the British officer out to corral him,
Anita Ekberg as the scantily clad dancing
girl who is Mature’s sweetheart. Though
the plot doesn’t make much sense, it’s all
entertaining to look at, featuring some
splendid galloping over the sand. family

Slander m-c-m

VV With Van Johnson as oppressed hero
and Steve Cochran as blackhearted villain,
outraged Hollywood attacks the scandal
magazines. Van’s a puppeteer who has just
struck it rich on TV ; Steve, the publisher
who threatens to expose Van’s prison past,
not because this nearly unknown enter-
tainer means big news, but because he
could provide a clue to a juicy interlude
in the life of a former neighbor, much
more famous. In spite of pressure from
wife Ann Blyth, Van refuses to save his
own reputation at the cost of another’s.
Though it’s an interesting idea, it’s pre-

sented in such a mood of furious anger
that it becomes implausible. adult

Three Violent People paramount;

VISTAVISION, TECHNICOLOR

/V' Consider the setting alone, and you
may classify this as a Western. But it’s
actually more a feminine sort of picture,
with Anne Baxter as a very genteel type
who corrals rancher Charlton Heston with-
out telling him that her personal history is
on the gaudy side. Even without the addi-
tion of such a dubious wife, Heston’s fam-
ily set-up is already complicated by his
embittered, crippled kid brother, played
by Tom Tryon. adult

The King and Four Queens u.a.;

CINEMASCOPE, DE LUXE COLOR

V)/ An equally gentle Western gives Clark
Gable five leading ladies. Mom Jo Van
Fleet stands guard over the supposed wid-
ows of her bandit sons. One outlaw is
thought to have survived, and Jo is de-
termined to see that the wife, whichever
girl she may be, remains true to her
spouse. Like all the dames, Clark is after
the hidden loot. He has a fine time flirting
with the quartet: strong-minded Eleanor
Parker, voluptuous Jean Willes, polite-
mannered Barbara Nichols, flutter-brained
Sara Shane. family

The Wrong Man WARNERS

From New York newspaper stories,
director Alfred Hitchcock draws a dra-
matic role for Henry Fonda. Fonda plays a

Playing the horses is just a hobby for
Fonda, he tells Vera, his worried wife

Stork Club musician, victim of a shocking
mistaken-identity case. On li is way home
to wife Vera Miles and their children, he
is arrested on a robbery charge, and con-
fused witnesses attest that he is a wanted
criminal. As the case drags on, with law-
yer Anthony Quayle pleading for Fonda
and police detective Harold J. Stone nurs-
ing misgivings, Vera’s mind gives way un-
der the strain. At first, you can uneasily
feel yourself in the same fix as the inno-
cent hero, but the story is presented in a
style too subdued for thrills. family

Star

Candids

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CLINT WALKER

CANDIDS

1. Lana Turner

2. Betty Grable

3. Ava Gardner

5. Alan Ladd

6. Tyrone Power

7. Gregory Peck
9. Esther Williams

11. Elizabeth Taylor

14. Cornel Wilde

15. Frank Sinatra

18. Rory Calhoun

19. Peter Lawford

21. Bob Mitchum

22. Burt Lancaster

23. Bing Crosby
25. Dale Evans
27. June AUyson

33. Gene Autry

34. Roy Rogers

35. Sunset Carson
50. Diana Lynn

5 1 . Doris Day

52. Montgomery Clift

53. Richard Widmark

56. Perry Como

57. Bill Holden

66. Gordon MacRae

67. Ann Blyth

68. Jeanne Crain

69. Jane Russell
74. John Wayne
78. Audie Murphy
84. Janet Leigh
86. Farley Granger

91. John Derek

92. Guy Madison
94. Mario Lanza

1 03. Scott Brady

105. Vic Damone

106. Shelley Winters

107. Richard Todd

109. Dean Martin

1 10. Jerry Lewis

1 12. Susan Hayward
117. Terry Moore
121. Tony Curtis
124. Gail Davis

1 27. Piper Laurie

128. Debbie Reynolds

135. Jeff Chandler

136. Rock Hudson

137. Stewart Granger
1 39. Debra Paget

140. Dale Robertson

141. Marilyn Monroe

142. Leslie Caron

143. Pier Angeli

144. Mitzi Gaynor

145. Marlon Brando

146. Aldo Ray

147. Tab Hunter

148. Robert Wagner

149. Russ Tamblyn

150. Jeff Hunter

152. Marge and Gow-
er Champion

174. Rita Gam

175. Charlton Heston

176. Steve Cochran

177. Richard Burton

179. Julius La Rosa

180. Lucile Ball
182. Jack Webb
185. Richard Egan

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187. Jeff Richards

190. Pat Crowley

191. Robert Taylor

192. Jean Simmons
194. Audrey Hepburn
198. Gale Storm
202. George Nader
205. Ann Sothern
207. Eddie Fisher
209. Liberace

211. Bob Francis

212. Grace Kelly

2 1 3. James Dean

214. Sheree North

215. Kim Novak

216. Richard Davalos

218. Eva Marie Saint

219. Natalie Wood

220. Dewey Martin

221. Joan Collins

222. Jayne Mansfield

223. Sal Mineo

224. Shirley Jones

225. Elvis Presley

226. Victoria Shaw

227. Tony Perkins

228. Clint Walker

229. Pat Boone

230. Paul Newman

231. Don Murray

232. Don Cherry

233. Pat Wayne

234. Carroll Baker

235. Anita Ekberg
2 36. Corey Allen

237. Dana Wynter

238. Diana Dors

239. Judy Busch

240. Patti Page

241. Lawrence Welk

242. Alice Lon

243. Larry Dean

244. Buddy Merrill

245. Hugh O'Brian

246. Jim Arness

247. Sanford Clark

WORLD WIDE, DEPT. WG-3-57
I 12 Main St„ Ossining, N. Y.

I enclose $ for candid

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the numbers of the ones you are to send me
by return mail.

NAME

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( Continued from page 60)

The brand is there. You’re in the deep
water now. But you haven’t found out
whether you can swim. Now I’m learning
to swim. So what’s the next phase? I need
a phase, I’m not kidding.”

“Movie stars have it the greatest,” the
same person said, smiling.

“You’re quoting from my fan mail,” said
Wagner. “Just the same, there’s something
to it. Any one of us who beefs should be
shot. I see people waiting for buses, this
time of night, which is real creepy. And
I’m doing the only thing I love to do. Plus
the salary. No problems.” He looked at his
glass as though he expected it to answer
him. “No problems,” he repeated.

A man burst through the door. He wore
an expensive blue suit; indeed, he looked
expensive from top to bottom. He sat
down on a sofa next to Wagner with an
air of almost violent assertion, and
launched without preamble into what was
unmistakably an agent’s directive. It was
his opinion that Wagner should appear, in
a non-speaking capacity, on a certain tele-
vision show. It was Wagner’s foreboding
that by so doing he would antagonize a
powerful columnist who also had a tele-
vision show. Wagner sat, irresolute and
worried. Presently he rose and mixed an-
other drink. “About the other thing . . .”

“The other thing” evolved into a re-
quest from a famed comedian that Wag-
ner join his improvised troupe on a visit
to a far north military base.

The man in the blue suit was of no
two minds about this either. “Five thou-
sand dollars!” he said. “You know, he’ll
get a television show out of it. Why should
you work for nothing? But you ought to
go. I’m not talking about patriotism.”

“They don’t want to see me,” said Wag-
ner tiredly. “Why should men in uniform
want to see a young jerk like me? What
can I do? They want to be entertained.
They want to see dames.”

“Don’t let it get you,” said the expensive
man. “But don’t forget the money. I happen
to know Jayne could have had $10,000 for
going. But she couldn’t make it.”

For some minutes more he delivered
himself of hoarse, categorical judgments
while Wagner sat with his head resting on
one hand. When the man left, nothing had
been settled. Wagner picked up the phone

Profile in Courage

again. “Wagner, Jr., once more,” he said
into it. “You’d better go ahead without
me. Sorry.”

The hour was moving past seven; the
darkness outside had become absolute.
Miss Rush, having proceeded from as-
trology through certain schools of acting
to how young Bob Cummings looked, had
taken her departure. But the others waited
in the outer office. Wagner’s day, which had
begun in the darkness of pre-dawn, was
not going to end even in the darkness of
post-dusk. He rose and looked out a
window, down to the studio’s main street.
A movie lot is achingly lonely and desolate
after the day’s work. Wagner shivered a
little and turned back to the lights of his
living room.

“No, we don’t have problems,” he said
sardonically. “That’s not true. Being phony-
famous and drawing a salary doesn’t make
you immune to the problems, and I have a
few of my own. I don’t know just what’s
going to happen. But if I can just have
six years — just six years more— I’ll have
it made. Then I’ll have leveled off into a
solid character and actor, or at least I’ll
have it in the bank. But I don’t know. A
lot of very big shots have had this dress-
ing room before me and a lot more’ll have
it when nobody remembers or gives a
hoot who Bob Wagner was. This is just a
tenancy, and sometimes they won’t let you
forget it.”

He spoke with a sudden rush. “There
was that ‘Lord Vanity’ business.” It was a
period picture, scheduled for Wagner,
that never got around to being made.
Wagner alleges financial difficulties. “Af-
ter that, I was hung up for eleven months.
Word even got around New York that I
was begging newspapers and magazines
to do stories on me. It wasn’t true. But I
guess it made a conversation piece. Then
I had this really great picture, ‘Broken
Lance.’ Great for me, anyway. And what
happened afterward? Next picture they
wanted me to do was one of those nine-
day B’s. Why? ‘A Kiss Before Dying’ —
Boy, am I a dirty dog of a warped killer in
that one! — should have been something.
I still like it. But it’s falling on its face.
How do you ever know? That’s what I
can’t figure.”

The greatest brains in the business can’t
figure such things, somebody remarked.

“But the way I look at it, Spence Tracy’s

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come along and saved me,” Wagner said.
“ ‘The Mountain.’ He asked for me, you
know. Gave me star billing with him, right
across the top of the picture. And it’s
good. A lot of the older players have
gone out of their way to give me a lift.
Clifton Webb. Barbara Stanwyck. You
feel it’d take you a thousand years to get
into their class. Or if you work real hard,
995. Gable was another one. He got me
going. I used to caddy for him.”

This was not surprising. When Robert
Wagner decided, at the improbable age
of five, that to be a movie star was an
ambition to his liking, he set about it with
the singleminded purposefulness of a salm-
on working its way upstream to spawn.
Assuming quite correctly, when the Wag-
ner family had arrived in Los Angeles,
that to know the right people wouldn’t
hurt, he arranged for himself a paper
route in star-studded Beverly Hills. He
asked for advice from his clients, and
carried golf clubs many miles for film
folk of discernment and influence. To
mitigate this pushiness, however, it is
also obviously true that he has been hard-
working and ambitious. As a result, as re-
gards his dramatic talents, he has turned
out to be an actor of real distinction.

“Outside of the star part,” Wagner said
now, “most of that’s true. You must have
been reading newspapers and magazines.
But so much of what has been said just
isn’t so. Maybe I should go along with it,
but it’s just not true. Dad’s no pauper,
but I wasn’t born with any golden spoon
in my mouth either. Then all those pieces
on what I think about women; they must
make people just a little nauseous. What
do I know about women, for Pete’s sake,
and if I do have opinions, who cares? I
like women very much. Some of my best
friends are women. But my ideas on them
aren’t going to shove the Suez Canal back
to page two.”

He shrugged sadly at his visitor. “Then
like I said, this juvenile bit. I don’t think
I’m exactly a creep, but I’m not the dis-
tillation of the All-American boy either.
I have a fault or two, maybe seventeen.
You’ve heard me talk, you know it’s so
much malarkey. So go ahead and say I said
so. There’ll be no more guff about early
dates and ice cream sodas either, I can
tell you that. It isn’t me. But on the other
end of the range, neither is all this night-
club scuttlebutt. It’s just a fact that I don’t
especially go for them.”

Slowly Wagner was divesting himself of
a painstakingly developed public person-
ality, and he was doing so without any
great reticence. Terry Moore, a friend, a
year or so ago read an infatuated account
of Bob’s forthright and guileless naivete;
she burst into helpless laughter. Like most
people, Terry likes Bob; but Wagner is
infinitely more understandable as himself
than he is in the role of a distortion or a
journalistic convenience. His manner is
knowing and incisive and precocious, his
wit somewhat hard and edged, his social
and professional maturity much more
glib and advanced than is normal to his
age. And his approach to his career these
days is a long way from the boy-next-
door attitude.

“What I need now,” he said tiredly, as
the last visible studio lights began to go
out, “is parts opposite these sex jobs. I
want to act with them. Jane Russell.
Jayne Mansfield. Sure, Jayne Mansfield.
I’ve been dating her. That gives the col-
umns a little something for them to chew
on. Besides, Jayne is very much on the
right side. Then there’ll be somebody
else. I’ll keep going. Just get me that six
years, that’s all.”

There were lifted eyebrows here and
there among the visitors in the dressing
room. Wagner nodded. “Sure. Somebody
said the other day I was a careerist. So
is there anybody in this business who
isn’t? I don’t want to sound too cynical,
but if you don’t watch every angle, you’re
a gone pigeon. Besides, anything’s better
than the phony business. The ice cream
sodas and the gee-whiz juvenile. There’ll
be no more of it. I won’t say there’s a
‘new’ Bob Wagner, but we can absolutely
kiss the old one goodbye, whoever he was.
Nobody I knew very well, I’m sure.”

It didn’t sound cynical, especially, the
visitor remarked. But it might take guts
to do.

“For better or worse,” Bob Wagner said,
“I’ll go it on my own from here on in.
It’s been seven years now, all told. I need
that phase; I wasn’t fooling. Whether
they like it or not, I’m not a boy. I’m a
man. . . . And one more Scotch isn’t going
to kill me.”

Now the volume of business out in the
office had increased. Late workers were
stopping in on Robert Wagner. Some crew-
men, who as a group like him very much.
An agent with something on his mind.
Two publicists with something on theirs.
A wardrobe attache. A little man who
evidently was bent mainly on a drink.

“It gets like this sometimes,” said Wag-
ner gently. He passed a hand across his

forehead and for a brief moment looked
intolerably weary. Then his features re-
assembled themselves and again he wore
his curious air of baffled confidence. “Do
you mind a lot?” he said. “I’ve got an
early call, and I’d like to get dinner before
I hit the sack. If I can. If I ever get to the
sack.”

He escorted his casual visitor to the top
of the several wooden stairs that de-
scended to where a spectacular Cadillac
was waiting. In it, Nena Wills, the secre-
tary, would drive the visitor back to the
parking lot.

For a second, Wagner stood uncertain,
puzzled. “This was anything?” he asked
the visitor.

“I think so.”

“You learned something?”

“It seems to me.”

He shook his head, and indicated the half-
open door of the office. “Wanna swap?”

“I’ll take your salary.”

He laughed without a terrible lot of
amusement and walked back inside. Nena
Wills drove the visitor to his car. The
hour was close to nine; the visitor’s dinner
was cold and his wife was irritated. Be-
hind him, the studio lot wrapped its
lonely self about Robert Wagner’s bright
and noisy dressing room.

A phase was in the making. The End

YOU'LL SEE: Robert Wagner in 20th Century-Fox's
"The True Story of Jesse James."

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INSIDE

David Ladd, son of Alan, with
his sister, Carol Lee, and Ruth
Waterbury, made a big hit

(Continued from page 8)
Fissionable Material: Everybody who sees
Kim Novak these days says that she looks
and acts as if she’s about ready to ex-
plode. Kim’s explanation is that she is
just trying to model herself after the fiery
and temperamental Jeanne Eagels and
that she is living her off the screen as
well as on. This explanation doesn’t en-
tirely satisfy the studio. For instance, the
other day Kim showed up an hour and
a half late for some still shots of a danc-
ing sequence in “Jeanne.” Kim was nerv-
ous and refused to let anybody take pic-
tures until she’d run through her number.
She said she wasn’t a dancer and was
afraid that she’d look bad. When the
studio’s publicity department became irri-
table with her, she said, “If you think I’m
temperamental, it’s because I am.” We
think the real fact is that Kim is scared
to death of this picture because she knows
she will have to carry it alone.

Step Forward: Jeff Chandler is playing
with Kim in “Jeanne Eagels” and he said
that by working on the Columbia lot he
was returning to the scene of his original
crime. “Ten years ago, I played a role

P in ‘Johnny O’Clock’ with Dick Powell,”
says Jeff. “But if you sneezed at a cer-
tain point in the picture you missed me.”

Eddie Fisher kept Susan Stras-
berg and Bill Dozier enrapt
ivith talk about the new home

Jeff’s delighted that Glenn Ford and sev-
eral others turned down the role he got.
They were afraid that Kim’s part would
overshadow theirs. Jeff’s played an Indian
brave so long, he’s afraid of nothing.

His Father’s Footsteps: When the Holly-
wood Women’s Press Club handed out its
annual Golden Apples to the most coop-
erative actor and actress (Deborah Kerr
and Charlton Heston were the recipients
this year) Alan Ladd’s small son, David,
was there to represent Alan, a two-time
Golden Apple winner. Originally, the club
had planned to present a children’s tab-
leau and David was asked to participate.
But, as they sometimes do, the plans went
awry and the tableau was cancelled. David
couldn’t have been more crushed if he’d
had a ten-year option dropped. When
Alan’s secretary told the club about it,
the girls quickly made amends by inviting
David to sit at the speaker’s table in the
place of his father, who was on his way
back from “The Boy on the Dolphin’s”
Greece location.

Home. Sweet. Home: The big thing in
Debbie and Eddie’s life, beside Carrie
Frances, is their first real home. Until
they moved in last month they’d been
living in hotel rooms and rented houses,

but now, at last, Eddie has carried Debbie
over the threshold of their honeymoon
cottage. Some cottage! It’s an old English-
style home on two acres of the most ex-
pensive Beverly Hills property, with a
brook running through the yard. It’s like
living in the country, but with all the
advantages of city life. Sunset Boulevard
is just below them and no place in Holly-
wood is more than a half hour away. It’s
a sprawling house built in the days when
a California home was built to last. There
is a projection room, put in by the former
owners, and plenty of space for a growing
family. Debbie had the time of her life,
choosing furniture, drapes and bric-a-brac.

Paris Patter: What a difference a year
makes! When Don Murray came to Paris
in the spring of 1955 he was a member
of the cast of “Skin of Our Teeth,” spon-
sored by the State Department as its
contribution to the Salute to France pro-
gram. An unknown at the time, Don lived
in a tiny hotel near the Place Pigalle
(GIs during the war called it Pig Alley
because of the low-down girlie shows and
other nocturnal entertainment) and ate
in the cheap bistros in the neighborhood.
Eighteen months later, when he returned,
he was married and on his honeymoon,
albeit a delayed one (“Very Hollywood-
ish,” says he, “to be expecting a baby on
one’s honeymoon”), and a world-famed
actor. This time he stayed with his wife,
Hope Lange (whom he married while they
were making “Bus Stop”), at one of
Paris’ most expensive hotels and did the
night spots. . . . Another honeymoon couple
who passed through Paris recently was
Ruth Roman and Buddy Moss. She may
change her mind when she gets back to
Hollywood, but Ruth, who looks happy
and glowing, is determined to take a six
months’ vacation from the films. She re-
fused the plum female lead in a modern
version of Corneille’s “Cid,” to be made
in Spain. . . . Elsa Martinelli is the despair
of every eligible Parisian male. When she
takes a holiday from work on “Manuela,”
being filmed in London, she makes a
quick hop across the channel to her fa-
vorite city, Paris, accompanied by her
kid sister, Cilia. All her French friends
are crazy about little Cilia, but don’t dig
it when Elsa insists on bringing her along
on dates.

London Lowdown: Van Johnson is deter-
mined that the whole family will stay in
London for a year and has hired a private
tutor for the children. Evie, on the other
hand, is just as determined that they will
all return to Hollywood in April. . . .
Richard Burton, hibernating in his native
village of Pontrhydfen, Wales, denies he
walked out of Otto Preminger’s “St. Joan”
without warning, says he sent Otto a
telegram asking to be excused because
of conflicting commitments. The End

What Every Bachelor Girl Should "No"!

(Continued from page 71)
does seem best not to ask him in for a
drink — especially if you live all alone. This
way, until you get to know him better,
you can say good night at the door and
skip over asking him in for a nightcap
as well. It’s usually the wee small hours
that are conducive to getting entangled.

“About that inevitable good-night kiss,”
Dolores goes on. “It’s up to the girl, of
course. Don’t kiss a date if you don’t real-
ly want to, just to be ‘sociable.’ But I do
think that if you want to kiss a man — then
kiss him!

“I’m speaking generally,” she says, “be-
cause the same circumstances don’t neces-
1 sarily apply to the same people. Although
the problems of a Hollywood bachelor girl
are highly individual, she does have one
thing in common with bachelor girls all
over the world. Glamour is every girl’s
business and, whether it’s Hollywood or
Hoboken, there are no limitations.

“I think every girl should take great in-
terest in dress and makeup, using make-
up as carefully as a painter uses his brush.
Now, I may not be a great beauty, but I
think my eyes are my most attractive
feature. So what I do is enlarge upon what
I have. Every man expects something
different. If one wants you to be a pixie,
the next may want you to smolder in the
long, tight, black stuff. Up to a point, I
do think you can be any type you wish
to be, by taking advantage of good points.
But don’t stray too far from your own
natural type.”

Since taking Hollywood by storm, versa-
tile Dolores has appeared in “Kismet” and
played the serpent-tongued gossip in “The
Opposite Sex,” which eventually led her

into “Designing Woman.” How she got that
role makes for an amusing story. Dolores,
who didn’t want to be typed, had turned
down so many scripts that M-G-M didn’t
bother to offer her this one. But she
heard about its unlimited possibilities and
headed right for the front office. Maybe
she thinks she talked them into giving
her the part. Actually, when she asked for
it, they jumped for joy.

Come next spring, Dolores hopes to be
in Hollywood when M-G-M entertains the
four lucky winners of Photoplay’s new
contest, which will run in the May issue.
Four bachelor girls will be whisked to
Movietown like so many modern Cinde-
rellas, to experience all the thrill of living
like a movie star — with Dolores Gray, the
expert on glamorous living, girl bachelor-
hood and Hollywood, as their guide.

Dolores didn’t take long to size up the
local bachelor girl situation when she ar-
rived in Hollywood.

“I hadn’t been in town long enough to
unpack my poodles [she has six],” con-
fesses the popular Miss Gray, “when I
went to my first ‘important’ party. Al-
though I had grown up in Hollywood, I
had been away for a long time, making
my way in the theatre. So here I was
‘home’ again.” M-G-M had brought her
back for “It’s Always Fair Weather.”

When Dolores arrived at this particular
party so soon after her arrival, it climaxed
everything. How wonderful, she thought,
to go to this glamorous Hollywood affair
and meet a new group of famous, fas-
cinating people. And it was true; the room
was filled with famous names and faces.
But with one or two exceptions, most of
the guests (especially the women) added
little to the gaiety of the evening.

“They seemed so tense and, in some in-
stances, so bored,” Dolores recalls. “It was
almost as if they were afraid to relax and
have fun. After dinner the gentlemen
talked shop over brandy, while the ladies
exchanged gossip in the powder room.
Then those who had early morning studio
calls began to leave early. Being used to
theatre hours, I am an inveterate night
owl, so I stayed on, hoping the party
would pick up. It didn’t. In the car driving
home I couldn’t resist telling my date.”

What was wrong? she wanted to know.
After all, Dolores had lived in New York,
London, Paris and throughout Europe.
People in general and society in particu-
lar were pretty much the same. Why was
Hollywood so different?

“It’s a fabulous place, Dolores,” mused
her escort. “But, as you’ve already dis-
covered, Hollywood is a small town de-
spite its world- wide fame. Yet it is differ-
ent from any other small town. The
relationships here are closer and more in-
timate because of the nature of our busi-
ness. Unlike other industries, people here
aren’t primarily selling a product, they’re
selling themselves! So it’s a highly com-
petitive jungle and, socially speaking, the
prevalent manpower shortage causes wom-
en to become their own natural enemies.

“You saw what happened tonight. Do
you realize there were three women to
every man in that room? Most of them
came there without escorts — because there
aren’t enough eligible men to go around.
This is one reason why some actresses be-
come so dedicated that it turns them into
self-centered, single-minded creatures.
They lose their humor and forget how to
have fun. As a result, men don’t want to

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get involved. These bachelor girls possess
beauty, fame, everything that money can
buy — except the one thing they need. Com-
panionship and love. To the outside world
they have everything. They’re actually the
loneliest women in the world!”

A bachelor girl herself, Dolores might
have withdrawn from this possible fate
that awaited her. It did give her food for
thought, and during the two and a half
years she’s been in Hollywood, Dolores
has had ample opportunity to observe the
local scene and come to some conclusions.

“We are at best a group of strolling play-
ers who need roots,” Dolores decided. “So
the average Hollywood bachelor girl must
be very careful with her heart. Quite
frankly, she needs someone waiting for her
when sbe comes home at the end of a long,
weary studio day. She needs a sympathetic
man who understands the occupational
hazards of her work. Therefore, the temp-
tation to fall in love with an available
young actor is strong, but I think she’s
asking for trouble if she marries him.

“This is a tricky business we’re in, and
young actors have their own heartaches
in trying to forge their own patterns. Al-
though they make charming companions,
they still have great insecurity. It hap-
pens invariably when a bachelor girl mar-
ries a young actor: That big, strong shoul-
der to lean on is conspicuously missing,
because the gentleman in question is too
involved with trying to survive himself.
It ends with — divorce!”

Every girl needs someone to talk to at
times, Dolores admits. She needs a man
who is mentally and spiritually stimulat-
ing, and here again is where many girls
make the mistake of being too fussy in
their choices. “After all,” says Miss Gray,
“he doesn’t have to be the man she’d throw
herself off a cliff for! Another mistake
made by girls everywhere, including Hol-
lywood, is refusing to accept a last-minute
date, just on principle-, with any man.
Even one who really attracts her.

“In Hollywood, if the would-be escort is
an actor, he may not actually know until
the last minute whether he has to get up
at dawn the next day. So he calls at six
in the evening. On the other hand, if you’re
an actress, you may have to break a date
at six, because you suddenly learn you
have to get up at dawn. So both of you
have to understand, and if you’re available,
why not accept a last-minute date? Some
of my most enjoyable evenings were the
direct result of not limiting myself by
certain silly conventions.”

Just recently the famous face, figure
and voice of Dolores Gray rocked and
rolled the TV world in a Cole Porter-
Ford Jubilee spectacular. A few days be-
fore rehearsals started, “well-meaning”
persons offered Dolores some advice.

“You won’t like George Sanders,” they
warned her. “He’s so bored with life. You’d
better watch out. He can be very sarcastic.”

So the rehearsals started. “And we had
a ball,” Dolores sums up. “George Sanders
was a little aloof at first, but that is his
privilege and I paid no attention. One
evening we finished early and I asked if
he’d like to drop by for scrambled eggs
on the way home. He said yes. I said that’s
fine— and now let’s rtop by McDaniel’s
Market in Beverly Hills and buy the eggs!

“George went shopping with me and
he carried the packages. We had more
laughs, all of which I might have missed
had I held out for, say, Romanoff’s or
Chasen’s. How did I know George would
accept such an invitation? someone asked
later. He’s a big boy, was my answer, and
all he had to do was say no. Thank heaven
I learned long ago: Never type a man be-
fore you know him!

“I’m equally grateful that I learned
never to listen to gossip, especially here

in Hollywood. If a girl stays home because
she happens to love her home, they say
she has no sex appeal. But if she goes out
a lot because she loves to go out, they
say she’s man-crazy. In most small towns
people usually know too much about each
other’s business. In Hollywood, if a girl is
a celebrity, she tries to be twice as care-
ful because she almost lives under a mag-
nifying glass and is a potential target for
gossip every minute. The answer is, I
think, that a girl must learn how to live
with herself and be indifferent to the rest.
Indifference is a healthy weapon.”

F or example, says Miss Gray, “I’m al-
ways amused when people ask why I’m
not married. This even intrigued the ac-
tress who chanced to employ my maid after
me; she used to question her avidly! Now,
I don’t think there’s anything lacking in
me just because I’ve waited. It’s true that
I’ve had proposals, but you marry when
you fall in love, not before. The theatre is
a full-time job. I love it and have worked
long and hard to get where I am. The
most important thing in marriage is shar-
ing, and until I’m ready to give up my
career, a man would have to be very un-
selfish if he married me.

“Some girls marry because they are
lonely. I’ve never been lonely or bored
in my life, and my problem is finding
enough time to do all the things that in-
terest me. I collect paintings, Georgian
silver and china. I love a home and doing
things in it myself. After all, where should
you go at the end of the day, but home?
My mother, who is a complete individual-
ist, lives with me. But she leads her life
and I lead mine. This is a perfect arrange-
ment.

“True, a career girl’s chances of meet-
ing men are multiplied, and our contacts
are wider than those of the average
small-town girl,” Dolores sums up her
advice to bachelor girls. “Our salaries,
needless to say, make many more things
possible, but I still think there is always
a way of doing things your way to your
advantage. Background plays an impor-
tant part in establishing popularity, and
if you want a man to be interested, make
yourself interesting. Simple as that!”

Since Hollywood first saw the light of
Gray, many men have been attracted to
Dolores. Among them are U-I executive
Milton Rackmil, actor George Lee, famous
artist Jon Whitcomb and disk jockey Del
Courtney, who plays her Decca record-
ings and flies down from San Francisco to
see her. Also, Count Dominic Luis y Sier-
ragorda, whom she met while traveling.
It was this same count who wanted to buy
Dolores a house in Monaco. She loved it,
wanted it — and didn’t accept it!

Following her smash hit in Las Vegas,
Dolores (who is no longer bound by an
exclusive M-G-M contract) took off for
New York, where she’s due to star in
Richard Ney’s play, “But Not for Mar-
riage.” A prophetic title for a streamlined
exponent of sex appeal? Not for Dolores.

“I will marry,” declares the girl who
definitely is not the one next door. “But
when I do, it has to be for life, because
I am a Catholic. In the meantime, as the
saying goes, I’ll play the field. I think
every girl will agree that nothing is more
important than a man in your life — when
he is the right man. But it works both
ways, of course.

“A man is rarely anxious to give up his
freedom, so he’s looking for someone pretty
special bimself. In the final analysis, how-
ever, I believe it’s pretty much up to ‘the
opposite sex.’ Don’t we all have to be ‘de-
signing women,’ who must try to please
just as much as we want to be pleased?
I think we do.” The End

BE SURE TO SEE: Dolores Gray in M-G-M's "De-
signing Woman.”

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(Continued from page 47)
new, new look. . . . Marlene Dietrich’s first
stop when she arrives in Hollywood is at
Van Johnson’s, where she stuffs herself
on all the local gossip and pays off by
preparing the tastiest beef stroganoff in
town. . . . The fact that the Stewart
Grangers’ baby girl, Tracy, was first re-
ported as being a boy only makes them
more aware how happy they are that their
first-born is a pretty addition to the female
sex. . . . There is no doubt that Audrey
Hepburn thinks she can be both great wife
and great actress at the same time. But
close friends feel that she might be work-
ing just a mite too hard at both roles. . . .
Glenn Ford got a great kick out of par-
ticipating in the making of “Teahouse of
the August Moon” in Japan, but after
Ellie brushed the lotus blossoms off his
lapels he was ready and content just to
hang up his hat and laze around with the
family for awhile.

The Facts, Ma’am : Ever since Eddie
Fisher married Debbie Reynolds, there
have been rumors from the Hollywood
grapevine that Debbie was trying to in-
fluence Eddie into dropping some of his
business associates of the past, notably,
his personal manager, Milton Blackstone.
It was Blackstone, of course, who discov-
ered Eddie when his was just a voice in
the wilderness and helped skyrocket him
to his present pinnacle of success. For
Eddie to drop Milton now would be the
kind of ingratitude that is “sharper than
a serpent’s tooth.” No one is more aware
of this man Eddie — which is why he is so
indignant over this misplaced rumor, di-
rected not only at himself but at his wife
Debbie.

“Debbie has never at any time tried to
impose any demands on me, as far as my
career is concerned,” Eddie assured me
when he came East for the press premiere
of their first co-starring venture, “Bun-
dle of Joy.” “And certainly she has far
too much integrity as a person to want
me to be disloyal to anyone who helped
me in my struggling days. As far as
Milton is concerned, sure, we’ve had our
differences of opinion. Who wouldn’t, in
a business relationship that involves so
many decisions, so much long-range plan-
ning and pressure from all sides? But, as
long as I live, I’ll never forget the debt
of gratitude I owe to Milton. All rumors
to the contrary, he is still my manager,
and always will be, I hope.”

Proving this is not idle talk, Eddie in-
sisted that the press preview of “Bundle
of Joy” be held at Grossinger’s, in Liberty,
New York, where Milton first spotted
Eddie. Debbie couldn’t come East to be
at the Grossinger premiere because she
couldn’t leave her real “bundle of joy,”
Carrie Frances, whom she was still nurs-
ing at the time, but Milton was at Eddie’s
side and shared the honors with him. It
was here, eight years ago, that a timid
youngster from Philadelphia first sang his
way into prominence.

Overseas Intelligence : Ingrid Bergman,
actress, is continuing to bring tears to the
eyes of spectators nightly for her sensitive
portrayal in the French stage version of
“Tea and Sympathy” in Paris. Rossel-
lini, after seeing Ingrid’s opening (with
teeth chattering, he was so nervous), and
after staying to spend the holidays with
his family, finally left for picturemaking
in India — which, of course, immediately
p started those old, unfounded separation
rumors. Six-year-old Robertino has en-
tered a school in Paris and the twins are
under the care of a French governess, who
9b

Exclusively Yours

doubles as French teacher to Ingrid in the
mornings. But she really doesn’t need
the lessons. . . . Rossano Brazzi confided,
just before sailing for America with his
wife, Lidia, that he is determined to retire
from the screen in 1960. Lidia’s com-
ment about his reputation as the “great
lover”: “Rossano just sells love. I wouldn’t
be jealous of potatoes if he sold them for
a living!” . . . Now that she is finished
with Edmund Purdom (“too young for
me,” she says), Linda Christian has been
putting into effect her new resolve to
stay away from married men. During her
stay in Paris, she was seen about town
with many handsome men, all of them
single. Her phone was busy, too, with
calls from as far off as Greece. Linda
confessed that she is looking for a serious-
type man to be a good father to her two
daughters. ... A new way of saying
“we’re just friends” is writer Peter Vier-
tel’s comment about his friendship with
Rita Hayworth in Paris: “We share sim-
ilar interests.” Before departing for Amer-
ica recently, Rita seldom left her Georges
V Hotel apartment except to go dancing
with Viertel. Dancing, she usually takes
her shoes off.

Tidbits about Tourists: Mr. and Mrs.
Errol Flynn are taking a leisurely cruise in
Mediterranean waters. . . . Dana Andrews
made the entertainer and other patrons
unhappy, at London’s swank Casanova
Club, by talking loudly during the acts,
despite admonitions from surrounding
tables. Dana apologized to the singer
later. . . . Merle Oberon dividing her time
between the Earl of Dudley in London
and a mysterious Frenchman in Paris. . . .
Grace and Rainier are encouraging the
people of Monaco to adopt as many Hun-
garian children as possible. They have
made donations out of their pockets to
Hungarian relief, in addition to official
government donations.

New Personality of the Month: About
a year and a half ago, before Susan Stras-
berg left for Hollywood to make “Picnic,”
she was given a bon voyage party at the
home of her godparents, Mr. and Mrs.
Herb Moss. As someone who has known
Susie ever since she was just a twinkle
in her father and mother’s eyes, I had
been invited to this gay gathering. Just
as I was leaving, a young girl rushed over
to Paula Strasberg to say goodbye, too.
There was nothing spectacular about her

Rita Hayworth took off from the famed
Georges V Hotel in gay Paris to return
to America with Rebecca and Jasmine

looks — mousy brown hair, clean blue eyes
and a general impression of sweet,
scrubbed freshness. But Paula introduced
us: “Radie, here is someone you should
know. She’s our newest exciting discovery
in the Actors Studio. Lee (Strasberg) and
Gadg (Kazan) predict a brilliant future
for her, so when she becomes famous, re-
member you met her here first!” And that’s
how I met Carroll Baker, before her
“Giant” screen success as a “Baby Doll.”

Shortly after Carroll came back from
location in Mississippi, where all of this
Tennessee Williams’ film was shot, we
caught up. with each other over lunch.
Despite the fact that her mousy hair was
blonder now (although she was letting it
grow back to its natural shade after
bleaching it almost platinum for this second
movie) and her slim figure had blossomed
out considerably, due to the imminent
arrival of a “baby doll” in the Jack Gar-
fein nursery, I recognized her immediately.
Neither George Stevens nor Gadg Kazan
had tried to transform her into the usual
mould of a Hollywood glamorpuss.

Carroll’s film career runs a striking
parallel to another disciple of the Actors
Studio, Eva Marie Saint. Eva won an
Oscar for her prize performance in a
Kazan-directed film, “On the Waterfront.”
Carroll will be a strong contender in the
Academy Award sweepstakes for her
brilliant characterization of a “Baby Doll,”
also directed by Kazan. Incidentally, nei-
ther film was made in Hollywood. Eva is
married to M-G-M director Jeff Hayden.
Carroll’s husband is Jack Garfein, who
recently completed his first directorial
effort for the screen, “End as a Man.” One
coincidence Carroll won’t share with Eva:
Should Carroll win her Oscar in March,
she’ll accept it in a beautiful new gown,
unlike Eva, who accepted hers in a
maternity dress. But to add one more
final parallel, Eva’s co-star in “On the
Waterfront” was an actor who first ex-
ercised his talent at the Actors Studio—
Marlon Brando. In Carroll’s first Warner
Brothers’ film, “Giant,” she played opposite
another famous Studio alumnus, the late
James Dean.

All or Nothing: Speaking of lonely mov-
ie queens, take Ava Gardner, if Walter
Chiari hasn’t already beaten you to it by
the time this reaches print! When Ava
was in London last summer filming “The
Little Hut.” I visited her on the set and
late: ran into her on the few occasions
when she dined out. When Ava was seen
supping at the Caprice or dancing at the
Milroy, she was, naturally, the center of
attention, and everyone speculated about j
who her good-looking escorts were. A
couple of dukes or a lord or two, at least,
lots of people were telling each other. How
amazed they would have been had I intro-
duced them to two American commoners
named Sidney Guillaroff, Ava’s hairdresser
at M-G-M and one of her closest Holly-
wood friends, and Morgan Hudgins, a Met-
ro publicist, who had been on location with
Ava in Africa for “Mogambo.” Grace Kelly
took such a fancy to him, too, that when
she married Prince Rainier, she borrowed
Morgan from Metro as her chief press
liaison at the wedding. Now he was back
with Ava again, handling her publicity on
“The Little Hut” and keeping her company
when Sidney or Walter Chiari wasn’t
available for the purpose.

Ava, who is well accepted in Europe,
has been presented by the manager with
a special winter-season pass for the per-
formances at the La Scala opera house in
Milan. Milan, of course, is Walter Chi-
ari’s home town. Incidentally, speaking

of Ava, a London tailor hasn’t recovered
yet from a recent visit from Ava (who
flits between London, Paris, Rome, Milan
and Madrid as easily as if she were com-
muting from downtown L. A. to Beverly
Hills). Ava arrived at this exclusive
men’s tailor shop, which caters to all the
old aristocracy, and asked them to make
her some slacks of material she gave
them. But Ava specified that they be
made very tight, and to make sure, she
preferred to have them fitted next to her
bare skin.

Ava met Chiari in Rome shortly after
she had run into Frank Sinatra in Madrid,
where he and Cary Grant were filming
“The Pride and the Passion.” It was the
first time their paths had crossed since
their final split-up, and Frank, who had
once been so insanely in love with her
that nothing else mattered — not even his
home, children or career — had looked at
Ava as impersonally and emotionlessly as
if she were a part of the scenery. It was
a cruel blow, not only to her vanity, but to
her heart, which still held so many in-
timate memories of him. After that, she
was grateful for the opportunity to leave
Madrid to Frankie and bullfighter Luis
Dominguin, who had succeeded him in her
affections, and was now married to some-
one else. In Rome, where there were no
ghosts of the past to haunt her, she might
find the happiness that has eluded her
with three husbands and a great career.

Will Walter Chiari, a tall, dark and
handsome Italian, who makes his American
screen debut in “The Little Hut,” be the
answer to her prayer? My guess is no,
and I base it on a statement that Ava
herself made in a recent interview when
she confessed, “I’m bad in only one thing.
I’m jealous. I’m very jealous. I want my
man to love me — just me — that’s all.” For
any wife to be jealous is a dangerous
threat to marriage, but with a Continental
like Chiari, this “only one thing” is the
kiss of death. In Italy, as in most of Europe,
a husband is Lord and Master. His wife
marries him to grace his house, breed his
children, adopt his family, share his reli-
gion and love him, blind to his faults but
aware of all his virtues! A woman who was
raised in Italy can often accept marriage
on such a basis, not only because this is
an accepted marital relationship, but also
because she knows that if she doesn’t, the
chances of her getting a divorce in a
Catholic country are almost nil. Conse-
quently, for a female like Ava, who
admits her overpoweringly jealous nature,
to marry a charming actor, well known
throughout Italy, would be disastrous —
and I say this because I have met him. He
has the Continental charm and technique
of making a woman feel she’s a woman,
and, like all Italians, he can no more help
flirting than he can help breathing. F.
Hugh Herbert and Mark Robson have
signed him, by the way, to a personal con-
tract and have great plans for his future
in American films.

How will Ava, who admits she doesn’t
want to share her man with anyone,
reconcile herself to sharing his popularity
—especially with the opposite sex? The
answer is, she won’t! And how will Chiari
put up with her accusing rages of jealousy?
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A Long Way From Home

(Continued from page 57)
heeled boots and a wide-brimmed hat,
he could pass for a stunt rider in a shoot-
’em-up Western. His square-built frame
is solidly packed, his face unremarkable
except when he smiles. Then a warmth
shines through and one ceases to be
concerned with actorish good looks and
becomes content with his ingratiating
friendliness backed by an inquiring mind.

The beach house, for instance, poses a
problem which could become more acute
as Rod’s popularity soars, which it seems
certain to do. “There are few moments
in our menage,” says Bob Walker, “when
the place isn’t jumping. The beach is an
attraction, of course, but I think it’s Rod
they want to see. People seem to gravi-
tate toward him, warmed by his natural-
ness and lack of pose.”

This has, to some extent, been a hard-
ship on the young actor who is so un-
affectedly gregarious. So, even when he
would like to be alone or sit before the
big front window and watch the Pacific
breakers pile up on the beach, he never
lets this become apparent to guests who
just “drop in.” These people, it must be
said, are not free loaders. They are simply
young folk who like Taylor’s ingenuous
boyishness, his sincerity and continuing
capacity for astonishment at the big, com-
plicated yet kindly country in which he
finds himself.

So he greets them with his kid-around-
the-corner smile and, if mealtime is immi-
nent, concocts his now-famous Australian
dish which he calls Greek lamb — some-
thing with as many ingredients as a hobo’s
mulligan, and twice as appetizing. “It’s the
only thing I can cook well,” Rod said.
“Jeff and Bob are almost visibly re-
lieved when I pass up my turn as chef.”

Taylor’s emergence upon the American
scene was the direct result of a philosophy
arrived at early. There being no tele-
vision in Australia and few little theatre
groups, he decided that the only way to
become an actor was to act, so he began
beating on the doors of radio studios. He
got what he was looking for — work. And
soon, because of his facility with accents,
particularly American, he was doing

twelve-hour stints, day after day over the
air waves; appearing also in stage plays.
It was at this juncture of his career that
writer-producer Marty Rackin appeared
like a good angel on his horizon.

Coming to Australia with the intention
of making a television series starring the
late Robert Newton, Rackin heard that
good actors could be had in the “down
under” country for a song such as he
could afford to sing. One night while lis-
tening to a radio story called “The In-
former,” he heard a young fellow playing
the part of a Brooklyn hoodlum. His
accent was so perfect that Rackin was
sure this was no Australian, but prob-
ably an American actor temporarily
beached in Sydney. He quickly got in
touch with the performer and found a
fresh-faced youth, an Australian, whose
bright blue eyes looked at him with the
wistful longing of a country pup in a big
city. “I asked him the usual question:
‘How’d you like to be in pictures?’ ”
Raskin said, “and he reacted exactly as
if I’d offered, him a million dollars.

“We were doing ‘Long John Silver,’ ”
Rackin went on, “actually a sequel to
‘Treasure Island,’ with Guy Dolman in the
lead, playing the part of a blind man. To
create the realistic effect of sightless eyes,
we decided to use contact lenses with a
kind of milky cloudiness in them. After
a few tries, Dolman said he simply
couldn’t wear the lenses and would have
to withdraw from the role. At my wit’s
end, I began frantically searching my mind
for some actor to play the part. It was
then that I thought of young Taylor. I
sent for him and he jumped at the chance
like a hungry trout. But right then I
got the surprise of my life. Rod wouldn’t
accept the assignment unless Dolman told
him personally that the role was his. Be-
ing accustomed to certain Hollywood
actors who’d steal a hot stove, I was
dumbfounded. This was loyalty and prin-
ciple beyond my experience.”

Rackin went on to explain how sin-
cerely Taylor plays any role given him.
“There was a sort of chase in the picture,”
he went on, “in which Rod, a completely
blind man, had to run over terrain known
to him only by touch, and he went at it

exactly as if he were sightless. Once he
banged into a tree and another time fell
over a boulder, cutting his hands and
gashing an arm. When I protested, he
said quite calmly: ‘A blind man gripped
by terror would run into trees and stumble
over rocks.’ Well, that stopped me. The
fact that he had injured himself didn’t
count at all.”

Having watched young Taylor turn in
a remarkably professional performance,
Rackin was more than ever convinced
that the youth was entitled to his chance
in greener pastures.

It was at this point that a lucky inci-
dent occurred. Rod won the Macquarrie
Award, given by newspapers to worthy
young actors, enabling them to go to
England for further study and experience.
Rackin, while not disparaging the oppor-
tunities awaiting Rod in the tight little
island, managed by subtle suggestions to
point out alluring pictures of America,
mentioning a couple of other Taylors, Bob
and Elizabeth, who had done pretty well
for themselves in Hollywood. This, cou-
pled with the magic names of Clift and
Brando, convinced Rod that heaven began
and maybe ended in Hollywood, where
everyone is supposed to ride around in
solid gold Cadillacs.

Now that Rod’s future seems comfort-
ably established, he is inclined to look
with a touch of nostalgia to the hard,
work-filled scenes of his adolescence.
Reared as the only child of comfortably
well-off parents in Sydney — his father is
a construction engineer and his mother a
successful novelist and short story writer —
Rod started out to be an artist, studying
in the Sydney Technical and Fine Arts
College. “I was a show-off, an arty brat of
a kid,” he said, “and believed myself to
be the possessor of an outstanding talent.
Then I took a flier in amateur theatricals
and got bitten by the bug for which there
seems to be no known cure. When
Laurence Olivier and the Old Vic Com-
pany visited Sydney, I knew for sure that
I wanted to be an actor. It was then that
I began to get rid of that phony attitude
and discovered that there is no substi-
tute for a sincere, honest approach to a
job. Not at first, though. I got work
scrubbing floors at night so I could walk
around daytimes looking like an actor. I
must have been an awful pain in the neck.”

About that time, when he was twenty-
one, the actor met, fell in love with and
married a pretty model who was just a
little younger than he. Neither of them
being burdened with much marital wis-
dom, career jealousy soon reared its ugly
head. They were both miserable through
two and a half years, at the end of which
time they were divorced.

Now twenty-six, Rod views marriage, at
least for him in the foreseeable future,
with a somewhat skeptical eye. Because
he’s still fearful that he might not measure
up to the high expectations which the offi-
cials at Metro-Goldwyn-Mayer, where he
is under contract, have for him. “More
than anything else,” he says, “I want to
make good as an actor. No, not just make
good, either. That isn’t enough. I want to
get up there with a couple of stars I used
to dream about when I was trying to get
my foot on the first rung of the ladder back
in Sydney — Brando and Clift. Maybe I
haven’t got what it takes; only time will
reveal that. But if I don’t make it — and
there are a lot of fine actors around who
haven’t — I wouldn’t want a wife to share
the bitterness of failure.”

In talking to directors who have worked
with him in pictures, it would seem that

ANSWERS TO CROSSWORD PUZZLE ON PAGE 17

Across

Campbell (William)

S M

(Sal Mineo)

ID.

Cha

13.

O'Brien

14.

God

16.

End

18.

M L

(Mario Lanza)

19.

Eyes

22.

near

24.

mere

26.

M O

(Maureen O'Hara)

27.

ocean

29.

30.

Yul

Brynner

32.

Anita (Ekberg)

36.

Deb

( Debbie Reynolds)

37.

Nige

38.

oil

39.

Danny (Kaye)

40.

Dream

42.

MG)

43.

A G

(Alec Guinness)

44.

45.

E A

(Eddie Albert)

46.

P D

(Paul Douglas)

48.

49.

D D

( Doris Day)

50.

N R

( Nicholas Ray)

51.

R E

(Richard Egan)

52. Tavern

53. Aga (Khan)

56. Nader (George)

60. S E (Southeast)

61. Kerrs (Deborah, John)

63. Bean (Jack)

64. Silken

67. Ira

68. B G (Betty Grable)

69. Wide

70. Victor (Mature)

71. Fred (MacMurray)

73. Ray (Milland)

74. E T (Elizabeth Taylor)

75. Widmark (Richard)

Down

1. Commandments (The Ten)

2. Able

3. Mr.

4. Pine

5. Be

6. enemy

7. Lee (Peggy)

8. S G (Stewart Granger)

9. Money

11. More

12. A N (Anna Neagle)

15. Dean (James)

17. Dan (Dailey)

20. You

21. sob

23. Ann (Blyth)

25. reigns

28. C R (Cesar Romero)

29. Ireland

31. Edie (Edythe Marrener)

33. “Niagara”

34. Ten

35. Aly (Khan)

38. orgy

40. Damon (Runyon)

41. Modern

46. Presley (Elvis)

47. Derek (John)

53. A E

54. grit

55. Arrow

57. A B (Anne Bancroft)

58. Debra (Pagetl

59. eager

61. knit

62. sari

64. Sir

65. “Ida” (Eddie Cantor’s wife)

66. Eve

71. F M (Fredric March)

72. D K

this fear is not well founded. “He acts
the way he is,” says Richard Brooks, who
directed him in “The Catered Affair.” “His
principal asset, as an actor and a person,
is the fact that he listens well to a di-
rector and other players. His actions
are all normal to the scene and honest,
particularly in a role which will permit
him to exploit his own personality. I
predict that Rod Taylor will go straight to
the top.”

George Stevens, who directed Rod in
“Giant,” was equally definite. Stevens,
no man to toss unearned compliments
about, and certainly one of the finest di-
rectors in Hollywood, has said, “I found
him to be an extraordinarily gifted player.
He has many graces of the acting art plus
an inimitable flair for pure mimicry. He
had a difficult part in ‘Giant’ and made it
outstanding. Taylor will most certainly
be a star of real distinction.”

Jeff Richards, co-sharer of the beach
house, who stars in “The Opposite Sex,”
is an enthusiastic, yet objective admirer
of Rod’s talents as an actor. “He isn’t
the matinee idol type at all,” Jeff said.
“Yet, curiously enough, I think he’ll be
a smash hit with feminine moviegoers.
His strong masculinity comes through
with every gesture, and he has somehow
managed to retain an ingenuous quality
which appeals to the mother instinct in

I women. But he has the good sense not
to overdo it.”

Rod’s social activities are not unique in
Hollywood. He likes parties and goes to
a lot of them. But night clubs dismay
him He is forever asking himself why
people pay so much money just to sit
around little jammed-in tables in crowded,
B smoke-filled rooms.

No young man plentifully endowed with
talent and natural charm long escapes
attention, particularly in Hollywood, where
studios are bulging with beautiful girls.
Taylor, in his quiet, unpretentious way,
has attracted quite a few of them, but he
I insists with his wide grin that the ones he
goes out with have nothing more serious
on their minds than a good movie and
maybe a chocolate malted afterward.
Nicola Michaels, a Metro-Goldwyn-Mayer
starlet whom he squires about quite often,
states with conviction that Rod is one of
the “most comfortable” boys to go out
with she has ever met. A bouncy girl
1 with a cute mouth and a bridge of
freckles across her small nose, she shakes
her head positively at any suggestion that
their friendship has the slightest implica-
tion of seriousness. “We have fun to-
gether,” she said. “Rod tries to think of
I things a girl would like to do. He doesn’t
need any prompting. Often we go out to
i his house and listen to his records and
the waves thundering just outside the
I big front window. Sometimes Jeff whips
' up something — he’s awfully good at things
; you just pop into the oven — or Bob will
' cook a chicken. And maybe Rod will get
to Work on that famous Australian dish of
i his.”

She paused a moment, then said with a
| wryly humorous smile: “One comment
! I’ve heard by others is that no girl has to
I wear a break-away jacket when she goes
; out with Rod.”

Now, with some first-rate pictures be-
hind him, and poised on the brink of fur-
ther successes, Rod Taylor is earnestly
i and happily on his way. Whatever fortune,

! a notoriously fickle dame, has in store
I for him, no one can tell, least of all Rod.

: One thing may be said with certainty:

! He’ll keep on giving his career the old
| college try, like the good Aussie he is.

The End

DON'T MISS: Rod Taylor in Warner Brothers'
"Giant" and M-G-M's "Raintree County."

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Half Saint — Half Siren

( Continued from page 50)
Consoling her was her mother Maggie, a
brisk and loving buffer in the two different
worlds of Debra, when the pieces of those
worlds need picking up and putting back
together again. . . .

The role she had lost was replaced by
another one, an even better one, not long
afterwards, and Debra Paget was happy
again. Yet tears are no stranger to this
shy and beautiful young star. Nor is in-
nocence. On the other hand, neither is sex
appeal. Debra has a figure that is breath-
taking. In a way, that whistle-bait figure
perjures the pure, undisturbed beauty of
her face — undisturbed, that is, until the
music starts or the cameras turn. Then
the veils drop and Debra Paget comes
alive with every instinct as ancient as
Eve’s, in a transformation which is as
puzzling to the observer as it is complete.

At twenty-three Debra is the most in-
triguing paradox in motion pictures today.
She lives in amazing splendor in the magic
world of her own creation, a world she
has dreamed about since she was five.
Whether because of disillusionment with
the Hollywood she grew up in or for some
other, secret reason of her own, Debra
long ago decided to restore in all its old-
time glamour and glitter a movie era of
yesteryear. Singlehandedly, if need be,
she has undertaken to bring back the ex-
citement of the “movie queen”— the fabu-
lous female who walked the streets of
Movietown with a tiger on a leash, or took
a bath in bubbling champagne.

Debra lives with her family in an old,
twenty-seven-room Mediterranean style
mansion which she has leased, located
back of the Beverly Hills Hotel. Con-
stance Bennett once lived there. But if
the walls could speak, even of the glamor-
ous Constance and the rest of the unfor-
gettable Bennetts, they could tell nothing
that would top Debra Paget’s jeweled Cad-
illac, the mirrored, African-motifed “Mo-
gambo Room” on the third floor, where
Debra rehearses her dance routines, her
jeweled mermaid murals in the hall or
the living-room fireplace which she has
converted into a fabulous planting area,
including coral flamingos, a silver fountain

and a statue of Kuan Yin, the Chinese
goddess of fertility.

Debra dresses elegantly, possessing the
most glamorous wardrobe of any of Hol-
lywood’s young stars. She wears mink and
white fox and blue fox and pink fox. And
she has over a hundred custom-made
cocktail dresses and evening gowns, all
designed to hug her thirty-five-inch bos-
om and nineteen-inch waist.

She rides in a Cadillac painted straw-
berry color, to go with her velvet bed, and
encrusted with fifteen-hundred dollars’
worth of multi-colored, glittering crystals.
Debra and her mother and brother-in-law
worked all one night, until five in the
morning, jeweling the car.

Why, you ask yourself, would any young
and beautiful girl, who could be out on
the town enjoying herself, stay up all night
pasting gay pink crystals on the top of a
car? What can she be like, this young
star who lives so lavishly in a romantic
world of strawberry velvet and white
satin and jeweled mermaids — but without
romance?

Debra Paget is the girl who never dates.
Why? What was the story, where did all
the pieces fit in the life of a young actress
Hollywood producers have so enthusias-
tically acclaimed?

To find the answers, Photoplay’s reporter
climbed aboard an Aeronaves Airlines
plane bound for Mexico City. There Deb-
ra is co-starring with Ray Milland and
Anthony Quinn in Benedict Bogeau’s pro-
duction of “The River’s Edge.” It is a role
that could make her a top dramatic star.

But Debra’s own story is as exciting as
any movie script. It has all the drama
and pathos and conflict that can happen
in the life of a girl who is half siren and
half saint.

In her Mexico hotel room, wearing a
short pink terrycloth robe and gold slip-
pers, brushing her flame-red hair and
looking all-siren, Debra tells you quietly
why she is here. Why she has been work-
ing long hours in the rain day after day,
bruising herself crawling over rocks and
through underbrush, giving her every
emotion to the camera. Why acting is her
whole life today.

Leveling amazingly blue eyes on you,
the girl directors call “one of the sexiest
in Hollywood” says, “I believe there’s a
job that each of us is meant to do. And I
believe we have a duty to ourselves to
d<5 it to the best of our ability. As far as
I’m concerned, I think I was put on this
earth to act. That’s what I love and it’s
my life. Acting, singing, dancing— this is
what I can do. How good it is, I don’t
know. I try to do my best. But through
work I find my happiness. . . .”

In the spacious hotel room in Mexico
City the girl who is so dedicated to
acting went on, “I played my first movie
role when I was only fourteen. That’s
pretty young to be suddenly thrust into
the motion picture business. There’s some-
thing about a big studio that’s so over-
powering, and I’m naturally a shy person
anyway. Those first years, if somebody
asked me a question I would just say
‘Yes’ or ‘No.’ Mother would break the ice
for me. She’d get people laughing and
make the atmosphere friendlier and I
would relax a little.

“Shyness is something I’ve had to grow
out of, and I’ve really had to work to
change it.”

Debra however, is still slow to trust
people. “I have to know somebody a long
while. In this business you learn never to
trust too much. I’ve been very lucky and
I haven’t been hurt badly.

“But perhaps, it’s because my mother’s
such a great judge of people.”

The rumor that her mother dominates
her life really draws Debra’s fire. “This
simply is not true. I get so angry when
people say those things. The truth is
there’s only one person who runs my life.
And that’s me!

“But I hate to fight with people,” Debra
says frankly, a fact which might help
spread this misconception. By mutual con-
sent her mother, serving officially as her
business manager, does much of the fight-
ing for her. Maggie’s always reminding
her daughter, “This is a business, Debra.
You’ve got to fight for your rights.”

Theirs is a very close relationship. Debra
does the acting, and Maggie spares her
those things which by temperament or
desire Debra feels she isn’t qualified to
do.

But once her mother said: “Some day
she’s going to have to learn to fight for
herself, and the day she feels she no
longer needs me, I’ll go. I’m sure it will
be painful? but that’s the way it will
happen. But as long as Debra wants me
here with her, that’s right where I’ll be.”

“You need somebody you can believe —
somebody you know will tell you the
truth,” says Debra, who always wants her
mother close at hand wherever she works.

Debra’s beauty and her unquestioned
sexiness has caused professional and per-
sonal conflicts in the girl who is so devout-
ly sure this is the job she was intended to
do, didn’t bargain for and sometimes can’t
understand.

Like the jeweled mermaid mural on the
wall of the hall in her fabulous house,
Debra has beauty that invites without
asking. For instance, the crew on a tele-
vision rehearsal stage just look idly at a
pretty and passive girl until Debra goes
into her dance. Then the TV censors start
looking around wildly for somebody from
wardrobe, hollering, “Put a skirt on her!”

Debra’s first experience with this, how-
ever flattering, was heartbreaking. It was
her first big TV show “and they had to go
and put a ballet skirt on me.”

The big number was called “The Jag-
uar,” and, says Debra, “We had a terrific
routine where I jumped over this fancy

IP hen Maxine Arnold, flew back from Mexico City via Aeronaves de Mexico after
interviewing Debra Paget for Photoplay, Debra took her to the airport limousine

Debra's buffer and guide, her mother
Maggie, made a hit with Elvis Pres-
ley during work on “ Love Me Tender ”

sports car. I was wearing a leotard cut
high in the neck and a split skirt that was
supposed to come off when I leaped into
the air.”

After the dress rehearsal the censor
informed her, “You can’t take your skirt
off in the number.”

“But I have to,” Debra protested. “In
order to jump over the car.”

The wardrobe department hurriedly
whipped up a billowing skirt of chiffon
and the censor said, “You can’t wear that
either.” Through the chiffon, the outline
of a flashing, very sexy pair of legs could
be seen. Finally they sent to the costumer’s
and, as Debra says, “got a ballet skirt that
came down to my ankles. They sewed it
on me after the show had started. What
a hassle! They were sewing, and I was
crying, and my agent was saying, ‘You
don’t have to do this, I’ll pull you right
out.’ And I was sobbing it was too late
and I had to go on.

“They shot my routine in a dark corner
of the stage, so dark, in fact, that a friend
who watched the show at home called up
to ask, ‘When did Debra go on?’”

Debra’s personal life has caused the
usual speculation among columnists.

In Mexico City there had been an ab-
surd romantic rumor. “They’ve had me
eloping with the hotel manager,” Debra
said. “Mother and I went to a cocktail
party given by the Ambassador of Panama.
I thought we were going with the assistant
manager and his wife, whom we knew,
but when we were about to leave, a
stranger presented himself to escort us. I
thought he had been sent by the am-
bassador, but he turned out to be the
manager of the hotel. A photographer took
his picture with me at the party, and the
papers ran it. Later, the ambassador’s wife
wanted to provide a wedding for us. I told
her,” Debra said laughingly, “ ‘Don’t you
think you’re rushing things a bit?’ ”

As Debra herself says, she can fight —
when there’s a real reason. Although it’s
general knowledge that Debra Paget
doesn’t go out on the town, a local colum-
nist called one evening recently and wanted
to arrange a date with Debra for a per-
sonal friend to attend a preview. “Do you
think she will go?” he asked her mother.

“I’ll put Debra on. You talk to her,”
said Maggie.

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The guy went on at length in a patron-
izing tone, as though he were doing her
a favor, and finally Debra had enough.
“Look,” she said, “if I won’t go with those
who call me direct, I sure won’t go out
with a blind date!” And she hung up on
him.

“I’ve gone to a few premieres, but I al-
ways go with Mother,” Debra says. “I get
such a kick out of it when somebody calls
and says, ‘You’re invited to such-and-such
party afterward. Please tell your escort to
wear a bow tie.’ I have to laugh, thinking
how Mother would look in a bow tie.”

Debra’s story begins in a house on High
Street in Denver, Colorado, right across
the street from where Douglas Fairbanks,
Sr., was born. Little Debralee Griffin was
fascinated by the house and never tired
hearing about the great Doug. She haunted
Elitch’s and other theatres where her
mother, Margaret Gibson, a legitimate ac-
tress, performed in those early years.
Debralee loved the “play-acting,” the
glamorous costumes and the wigs and
makeup. This was a magic, happy land
and she wanted to be part of it.

“She begged for this business before
she could even talk,” her mother says.
“Debra is a real ham. She cannot live
without acting, and that’s the full defi-
nition of the word!”

To the cute, tow-haired little girl with
the serious, wide blue eyes her mother
would say, “When you’re old enough to
know whether you have the guts and the
backbone it takes, then we’ll see.”

When her mother and her older sister,
Teala Loring, went out on the road with
various shows, Debralee lived for the mo-
ment when they would come home, bring-
ing some of the magic back witb them.
“My sister, Lisa, and I would get into their
wardrobe trunks and dress ourselves up
in the oddest get-ups.”

Whenever he could, Debra’s father would
bundle up the younger Griffins in the fam-
ily car and they’d trek across the country
to Cheyenne or to Chicago or New York,
wherever Debralee’s mother and sister
were booked.

Backstage — any backstage — whether
Elitch’s, or the Gayety in New York, or an
old burlesque theatre, was an enchanted
world to Debralee Griffin. She would
watch, wide-eyed, saying nothing — and
missing nothing.

When Teala Loring was signed to a
Paramount contract, Hollywood was the
Griffins’ home base. And little Debralee
was tired of just watching the show. She
wanted to be part of it.

“Sit down, Debra, I want to talk to you,”
her mother said. Maggie Griffin had been
in show business since she was five, and
she told Debra what success would de-
mand. The sacrifice it would involve. “If I
work with you and help train you to be an
actress, and the first time your little
friends come over and you say, ‘I’d rather
go out and play,’ you’re finished.”

And she added, “Learning to act is not
like taking a piano lesson. It is work, work,
work.”

Yes, Debra said, she knew. And she
would work. For a solemn-eyed little
girl this was like taking a vow.

And Debra did work. She took tap and
ballet lessons. She studied with her moth-
er and with actress Queenie Smith. She
played “Joan of Arc” in a children’s thea-
tre group. “She was merely a child — but
she brought tears to everybody’s eyes,”
her mother says. And one day, a day and
a gamble that was to decide the future of
her life, Debra walked with her mother
and her brother, Frank, through the magic
gate of a motion picture studio.

Margaret Gibson knew Ivan Kahn, then
talent head at 20th Century-Fox, and he
had once told her: “When your children

are ready, bring them out to me.” Debra ]
and her brother tested together in a scene 1
from “Ah, Wilderness,” and Kahn agreed '
they were both very good. They had tal- i
ent, no doubt about that. But the studio |
was cutting down on its stock players and
could only hire one of the children. Their
mother was to decide which one.

“That was the most difficult decision I’ve
ever had to make in my life,” Maggie says
slowly now. “I didn’t tell the kids. My son
didn’t know until two years ago. I thought
they were both good — but I felt the dra-
matic depth Debra had would carry her a
long way.” With a mother’s love she
prayed she’d done the right thing.

Two weeks later the combination of in-
nocence and sex appeal got Debra the part
of Richard Conte’s sweetheart in “Cry of
the City.” Three name players were up
for the role, but the studio was looking
for the unusual combination of youthful
innocence and dramatic ability. Debra
was chosen. “I cried all over Richard
Conte,” she recalls now.

At fourteen Debra Paget, who’d never
had a date in her life, was playing love
scenes with Richard Conte and going to
school in between.

She was a child in a confusing world of
adults. Before the camera she was at home.
Acting was her real world — the one she
knew and could trust. Here she could talk
and laugh and cry. But in the other —
Debra Paget was quiet and withdrawn.

From the beginning, Debra defied the
customary build-up for a Hollywood star-
let. “I will not date for publicity,” she

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says. “I never have and I never will.
There’s no mystery about this, no gim-
mick. I won’t fake romance, and I don’t
see going out unless it’s with somebody
you’re sure you’ll enjoy being with. When
I am ready to fall in love I will.

“I don’t feel it’s necessary to ‘go out’
with a man to know him, or to find out
whether you’re in love with him.

“I think you can fall in love just as
easily at first sight as you can seeing a
different man every night. I think a girl
will know when she’s in love. I have
seen so many girls going out with first
one and then another man. They don’t
know what they want. These poor girls
get so confused dating so many fellows
that when the right man comes along they
don’t even recognize him,” Debra says
seriously.

“When people say to me, ‘Where will
you meet the man you will marry?’ I tell
them that I see people every day of my
life, that there’s no place where you meet
more people than in the motion picture
business. And with personal appearances
and foreign locations I go all over the
world these days. I’m gone so much — that’s
why I love to be home. When I get home
I just want to stay there.

“And we entertain people at home all
the time. We have big parties and we
have small groups of friends in too.”

When asked whether she shies away
from a serious romance as a result of be-

102

ing disillusioned or hurt, she says, quietly,
“No, I haven’t been hurt. And I’m not
afraid of romance. And I’m not disillus-
ioned. This is just the way I feel.”

“She’ll find the right man,” her mother
says, “and when she does — and I don’t
think it will be too far off — there will be
less room for her career, that’s all.

“I want Debra to have everything in
this life,” her mother says, and her eyes
mist. “She deserves it. I want all my chil-
dren to have happiness, but Debra espe-
cially. She does so much for all of us.
There’s nothing we want, nothing we want
done that Debra doesn’t try to do. You
just don’t find many girls like that.”

Debra’s new sophistication, the chic,
short, flame-colored hair-do and the glam-
orous wardrobe are partly to startle stu-
dio executives into realizing little Debralee
has grown up. “I’ve been at the studio for
ten years and they still see me as four-
teen.”

But behind the fabulous wardrobe — the
sequins and the tulle and the mink and all
the little foxes— is her desire to keep
glamour alive.

“Ever since I was a little girl,” she says,
“I thought of Hollywood as a glamorous
place. And when I got here — well, it was
a great disappointment.

“I’d thought of movie stars as being so
glamorous, the way Joan Crawford still is
today. She never lets you down. But I’ve
seen people I’d admired so much walking
around Hollywood in slacks and no make-
up, and I was so disillusioned. I didn’t par-
ticularly care whether I ever saw them
again or not. I think you should live up
to the role you’re asked to play in life.”

The strawberry velvet and white satin
boudoir is also a young girl’s dream of
Hollywood, and Debra admits it’s why she
conceived such a bedroom.

The jeweled mermaids? “That was
strictly for fun!” she sparks. For publicity?
“Well, we did it for the publicity,” Debra
says frankly, “but for the glamour too.
That jeweled Cad certainly is a conver-
sation piece. People keep coming to see it
and take pictures of it. The man with the
limousine tour — the one who points out
star’s homes — told me he’s doing the most
business he’s done since Tom Mix’s white
car,” Debra says delightedly. “I stopped
at a stop light the other day and two men
came out of a barber shop with towels
around their necks as if somebody had
yelled: ‘Fire!’ You should have seen the
double take.”

The car was her mother’s inspiration.
Her mother said, “Well, Paget, you don’t
go out, no scandals, no nothing. We’re
getting in a rut. We’ve got to do some-
thing.”

“You should see it at night, every stone
reflects the light. The car sparkles like
diamonds,” Debra says delightedly.

“I don’t think I would ever give up my
career completely for marriage,” Debra
said, as the sun was sinking in the Mexi-
can sky beyond the square outside her
hotel room.

“My career has always been first with
me. With this drive that’s inside me I
don’t need to search for anything else.”

In the park across from the hotel the
Sunday fiesta was picking up steam. Fire-
works were booming and the music from
the gaily costumed Mexican band was
coming in the window loud and gay.

The girl with the flame-red hair in the
pink terry cloth robe answered the com-
mand. One gold toe began to tap, her eyes
sparkled and her lips parted and her
body seemed to dance without moving.

Debra Paget was becoming Eve’s daugh-
ter again. The End

DON'T FAIL TO SEE: Debra Paget in 20th Century-
Fox's "The River's Edge" and Paramount's "The
Ten Commandments" and "Omar Khayyam."

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The Rock Hudson Story

( Continued from page 49)
from the series of events which brought
him to Hollywood and stardom any com-
mon denominator. Nor have his chronic-
lers or he ever been able to force from
his life any familiar blueprint for stardom.

Not long ago I asked Rock when and
why he decided to become an actor. The
question was a logical one, following as it
did Rock’s own cruel analysis of himself
as a shy, awkward “goop” who “isn’t even
very bright.”

Rock thought a long time before an-
swering. Finally he said simply, “I really
don’t know when or why I decided to be-
come an actor. I guess I just always knew
that some day I would be one.”

That’s about all the trail there is to fol-
low if one tries to make any logical deduc-
tions from the life of Rock Hudson.
Romanticists would call it destiny. A pes-
simist would say he fell into it. There’s
something to be said for both sides.

Rock is and always has been as open
and honest as he seems to be on screen.
The quality of honesty which he brings to
all of his screen portrayals is no credit to
Rock’s acting ability. He is honest, almost
to an extreme. A publicist at Universal-
International and a close friend of Rock’s
recalled for me recently the only lie he
ever told her. When she was writing his
biography he tried to take an inch off his
height and said he was six feet three in-
stead of six feet four because he was al-
ways embarrassed by being so tall.

And in January, 1952, Rock and Jimmy
Stewart went to Portland, Oregon, for the
premiere of “Bend of the River.” The show
was held up for forty-five minutes while
fans outside the theatre yelled, “We want
Hudson, we want Hudson.” Rock later in-
sisted to newsmen who commented on the
demonstration that the studio must have
set up the cheering section, which of
course was completely untrue.

But Rock’s honesty only extends as far
as his work and career are concerned.
Writers, for that reason, do their research
all around Rock rather than go to him di-
rectly because he has steadfastly refused
to discuss his private life.

In Winnetka, as in Hollywood, Rock was
a one-woman man who preferred “going
steady” to playing the field. Even when he
first came to Hollywood Rock always had
one girl. Soon after his romance with
Vera-Ellen wore thin he “went steady”
with a succession of girls including Terry
Moore, Gene Tierney, Lori Nelson, Susan
Zanuck and Barbara Ruick. His last steady
dating, before meeting Phyllis, was with
Betty Abbott.

He was an eligible bachelor and he
played the role to its fullest. He dashed
around town in Marisa Pavan’s sports car
and was seen showing Anna Magnani the
old world charms of Olivera Street in
downtown Los Angeles’ Mexican area.

There was no set pattern to his dates.
Often he would call one of his girl friends
in the middle of the night to play his new-
est record for her over the telephone.

Most of the girls Rock dated in this pe-
riod still remember him with fondness.
“He liked to laugh and live it up,” says
Piper Laurie. “Everything he did was fun.”

Julie Adams, who appeared in a number
of pictures with Rock, remembers him
most vividly.

“We used to play a game called ‘Last
Touch,’ ” she said. “It was, according *n
Rock, one of the higher-type adult games.”
U-I publicists still tell the story of the
frantic three months when both Rock and
Julie were on a personal appearance tour.
A week or ten days apart, the two young
stars appeared on the same disk jockey
shows and TV interview programs. One
night Julie was progressing admirably in
an ad lib interview over TV when the em-
cee— tipped a week earlier — tapped her
shoulder and said, “By the way, Last
Touch!” Julie’s mouth flew open and her
eyes bugged over the gag set up by Rock.

But his earlier years in Hollywood were
not all play for Rock. Sandwiched in with
the fun were diction and dramatic lessons,
plus instruction in athletic and body
building activities.

Frankie Van, the Universal-Internation-
al boxing coach, was also given the task of
teaching Rock to stand up straight. Rock,
conscious of his height since high school,
slouched to de-emphasize it. Anywhere
Van found him on the lot, Rock could ex-
pect a slap on the back and the order—
“Stop slouching and stand up straight.”
Perhaps Van went at it with more en-
thusiasm than necessary. He had a $100
bet for breaking Rock’s slouch habit.

Two years of dramatics lessons under the
late Sophie Rosenstein made a great im-
pression on Rock.

“She had a great influence on me,” says
Rock. “I owe her a lot more than I can
say. She was warm and magnificent. I
can still remember her pounding an idea
into me: ‘Nobody ever reads a fine wrong;
he might possibly read it wrong for that
particular scene.’ I think of that every time
I’m trying to get a characterization.”

The years 1952-1953 were productive for
Rock. He was working hard and he was
beginning to get the feel of his craft.

here are two of the

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104

“I began to know what I was doing,” he
says. “I was learning, not only from do-
ing, but from watching other people.
Yvonne de Carlo taught me much about
the technical aspects of the business; Joel
McCrea gave me great help in learning to
ride; and John McIntyre, one of my favor-
ite actors, taught me to relax.

“But Raoul Walsh gave me two of the
best pieces of advice on my carer. He
told me to remember that whatever 1 do
on set will be magnified twenty times on
screen. He advised me to minimize what
I did, to be still, and he was right.”

Bachelor Rock spent a good deal of time
with a small circle of friends. The Van
Johnsons, Barbara Stanwyck, Mrs. Rocky
Cooper (when she was separated from
Gary), all saw a lot of him. He particu-
larly admired the home and marriage of
Barbara Rush and Jeff Hunter.

He even told his mother about them.
“Mom, I wouldn’t hesitate a second about
getting married if I thought I could have
a home life like theirs.”

Ironically the marriage he so admired
was to break up a year later after he and
Barbara returned from filming in Ireland.
Rock was falsely accused of being the
cause of the breakup.

All of the marital mishaps and failures
he had seen as a child, as well as a man,
caused Rock to be extremely marriage-shy.
He was dating many girls but he found
that for the most part he made better
friends with men than women. “With a
woman the elements of physical attraction
enters the relationship,” he said. “It gen-
erally puts people on a different level
from friendship.”

Although Rock has maintained a Gable-
like discretion about his romances, more
than one of them ended just about the
time the young lady in question hinted too
broadly about marriage. Rock has indi-
cated that he “was a heel” on at least two
occasions during his bachelor days but he
just wasn’t “ready” for marriage.

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During 1952 and 1953, Rock was busy
for the first time in his career — as an actor.
After years of playing juveniles and small
parts the studio began to groom him for
stardom.

From the beginning he was cooperative
and appreciative. But, two things about
his growing popularity bothered Rock —
the demands on his time and the lack of
privacy.

“It’s almost unbelievable,” he said of this
period. “There are terrific demands on
your time at first. It’s almost a twenty-
four-hours-a-day sort of thing. And it’s
almost impossible to have a private life. I
figure ninety per cent of me belongs to the
public but ten per cent should be private.”

Rock’s resentment over his decreasing
privacy increased as he became more and
more of a star. By Hollywood standards
he was “hot.” That meant the studio was
through using other stars to carry him in
picture layouts. It was Rock who was
the crutch for other, lesser known stars.
Any girl dating Rock was sure of being
mentioned in the columns and having her
picture taken— and used — at Hollywood
events.

Along with his increasing stature as a
new personality of importance Rock was
also beginning to be considered as a per-
son with acting promise. By 1953 even
Rock began to feel he was learning his
craft. And just about that time he had his
appendix out.

After returning from the hospital Rock
learned that producer Ross Hunter wanted
him to play the lead opposite Jane Wyman
in “Magnificent Obsession,” which would
be one of the studio’s big pictures for the
year.

“I was never worried about Rock com-
ing over on the screen,” Hunter recalls.

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105

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“The thing that makes a star is romantic
quality and he’s got it. However, we had
to make him feel we were all with him
100 per cent.”

The fan mail following “Magnificent Ob-
cession” established Rock as the top star
on the U-I lot, and the studio immediately
put him into “Captain Lightfoot,” which
was to be filmed in Ireland co-starring
Barbara Rush.

A few days before he was slated to
leave for Ireland Rock went shopping for
some Christmas tree ornaments.

A girl shopping at the same counter said,
“Hello, Rock.”

Rock gave her a not-too-friendly look,
thinking she was a fan or someone he
didn’t know.

“I’m Phyllis Gates,” she said.

“Oh,” said Rock, turning away because
the name meant nothing to him.

A few days later he went to Henry Will-
son’s office and nodded cordially at Hen-
ry’s assistant, who said coldly, “I see you
know me now.”

Rock was mystified until she explained
that she was the girl he had slighted.
Rock was so embarrassed he invited her
out, but Phyllis turned him down. Like
all good movie romances, this one had its
beginning in conflict and Our Hero went
off to Ireland where he promptly forgot
about Miss Gates.

While in Ireland Rock gave newsmen a
natural story by kissing the Blarney Stone.

“I’ve always taken a lot of ribbing be-
cause I refused to kiss the Blarney Stone,”
he told reporters after the event. “But I
have a mental picture of the caption un-
der a picture of me and the stone . . . ‘Rock
kisses Rock’ Lord! But today Betty and
Barbara made me do it . . . and I don’t dare
look at the papers tomorrow.”

After they finished filming in Ireland
the company had some free time, so Rock
took Betty Abbott and Barbara Rush mo-
toring through France. They report it was
a hair-raising experience. One day during
a rainstorm, while trying to find an inn
on the winding mountain roads, they got
caught in the middle of a French road race.

“I didn’t dare pull over to the side of
the road for fear of being mowed down
from the rear ... so we just clung to the
crown of the road,” recalls Rock. “Those
French drivers didn’t even slow down.
They just went around us.”

After the rest of the company had re-
turned to America Rock browsed around
Europe on his own.

“I water-skied in Venice, went through
Switzerland and then got to Austria,” he
said. “I have to agree with Douglas Sirk
about Austria. He says, ‘In Paris work is
distasteful, in Vienna it’s a sin.’ I thought
it was a wonderful country.”

Eventually Rock had to return to work.
He left Europe regretfully, with plans to
return for a longer time.

“I’d like to live there permanently,” he
says now. “I like their manners. Things
are too speeded up here, the pressure is
too high. I sometimes think I’d rather be
doing anything there, even working as
a bus boy, than living here.”

On his return to Hollywood U-I put him
into “All That Heaven Allows.” He
plunged into work, not wishing to answer
the questions which were thrown at him.
When he and Betty Abbott had gone to
Europe together everyone had expected
them to be married there. When Barbara
Rush got her divorce shortly after re-
turning, the Hollywood wags decided that
Betty had been a herring across the trail
of Barbara and Rock. He had nothing to
say about either romance.

“I’m all talked out,” he said to persist-
ent questioners. “Besides they’re all try-
ing to marry me off.”

Betty Abbott started dating other men,

Barbara Rush was busy working and
Rock gave most of his energies to the new
picture. He also found a new girl. He
had described her earlier when he said,
“I’d like her to be an independent kind
of girl. I mean I want her to have a life
for herself, as well as the life she’ll lead
as a wife. In that way I am sure there will
be much more chance of both of us keep-
ing our interest in each other.”

He had also met her before. She was
Phyllis Gates, the girl he “hadn’t been
much impressed with” at first.

“When I got back from Europe I sud-
denly saw Phyllis with different eyes,”
says Rock.

He asked her to dinner and she turned
him down three times. The fourth time
she accepted but he had to cancel out
because of some night filming at the
studio. The same thing happened twice
more. The third time Henry Willson took
Phyllis to dinner instead— and Miss Gates
walked into the restaurant to find Rock
with another girl.

It was a studio publicist and she and
Rock were having an urgent conference
about stories. But Phyllis was entitled to
doubts!

“It took almost a year and all the acting
technique I had learned to convince Phyl-
lis that I really loved her,” said Rock.

After almost a year of dating, Rock and
Phyllis surprised^ no one in Hollywood
by getting married. The only surprise was
the way they got married — in secret.

Henry Willson went to Santa Barbara
and made the arrangements. Rock called
Chicago to Jimmy Matteoni, whom he had
always planned on having as his best man.

“Rock called at six p.m. Monday night,”
says Gloria Matteoni. “Jim wasn’t home,
so he called again around two a.m. Tues-
day morning. We left Chicago Tuesday
night and were in Santa Barbara for the
wedding Wednesday.”

On the way to Santa Barbara the wed-
ing party stopped in Ventura to obtain
a marriage license, and Rock got a ticket
for speeding. “It cost me twenty-seven
dollars to pay that ticket.”

Then, on November 9, 1955, Rock and
Phyllis were married in a simple ceremony
by the Rev. Nordahl B. Thorpe, minister
of the Trinity Lutheran Church of Santa
Barbara.

Phyllis wore a gown of brown imported
Italian silk and carried white carnations
and gardenias. Rock wore a dark suit and
a white carnation.

“Was I nervous?” asked Rock later. “I
was falling apart.”

After a simple wedding supper, Phyllis
and Rock set out for a honeymoon in
Jamaica. “It was exactly the way I wanted
it,” says Rock. “I think Phyllis would have
liked a big wedding with the dime
in her shoe and the whole bit, and I
think she’d have had it, had she married
any other guy. But she had the bad luck
to pick me, and she understood that an
elopement was the only possible way.”

The Hudsons returned to Hollywood,
tanned, rested and happy.

“Happy is an understatement,” claims
producer Ross Hunter. “They arrived at my
house at two a.m., the night they came back
from their honeymoon, and kept me up for
three hours while they raved about how
great it was to be married.”

Professionally, 1955 was Rock’s best year.
He had made a number of pictures fast,
but his studio was giving him better and
better films.

In return for doing “Never Say Good-
bye,” a tearjerker in which he starred
with Cornell Borchers, U-I lent him to
Warners’ for what is probably his best
role to date, Bick Benedick in “Giant.”

George Stevens, known for getting the

106

most out of every scene, worked Rock
harder than he’d ever worked before.

Rock is very impressed with Stevens.
“I’m a better actor for having worked with
George Stevens,” he says. “He made me
build a characterization in spite of myself.”

Stevens, on the other hand, feels that
Rock has a great potential. “In Rock we
have a symbolic picture of the most ro-
mantic kind of leading man . . . and in
addition to the physical plusses he has the
business of being a fine actor, who goes
to work with intelligence.”

Again, Rock almost didn’t do the role
because, he says, “At the last minute I
felt cold, afraid. This was the most com-
plicated role I ever had to face. I felt
I would never live up to the demands of
the role and I thought I had to get out
before it was too late.” It took the com-
bined talents of George Stevens and Phyl-
lis to talk him into it.

After “Giant” was finished Ross Hunter
started plans to film “Battle Hymn” at U-I.
It is the biography of the Flying Parson,
Dean Hess, and was to be the most ex-
pensive picture U-I ever made. Rock
begged for the lead. Hunter was frankly
skeptical.

“ ‘Battle Hymn’ was a tour de force,” ex-
plained Hunter. “Rock would have no one
to lean on or help him as he had in the
past. He’d have to run the gamut from
comedy to deep tragedy all by himself —
literally carrying the picture alone. I
didn’t know if I could pin all the money
on him without expert acting support. But
he begged me, and Rock is only good if he
really believes in a part. He wanted this
one. I have only one comment to make,
now that the filming is over. It’s all his
picture and it is great.”

Rock was recently loaned to M-G-M for
the lead in “Something of Value,” which
was filmed on location in Africa. But Uni-
versal-International announced shortly
after filming was over that they had no
intention of loaning their hot property
away from his home studio again in the
near future. And his price will be a great
deal higher than the current $200,000 a
picture, when and if they do.

The studio immediately put Rock into
“Written on the Wind,” in which he co-
stars with Lauren Bacall and Robert
Stack. He plays the “good guy.” The plum
acting role, that of the drunk, goes to
Stack. Rock wanted to play the drunk, but
the studio said no.

“Rock’s fans won’t accept his doing
anything shoddy,” says Dave Lipton, U-I’s
publicity head. “They like him because
he’s what they want their daughters to
marry, or their children’s father to be, or
their childhood sweetheart. If we let him
break out of that character they’d howl.”

Lauren Bacall, who has gotten to know
him since doing the picture, says he had
a hard job.

“When your name is bigger than your
experience, like Rock’s, a lot is expected
of you,” she says. “He delivered.”

“Wind” was a reunion for Rock and Bob
Stack, who have been good friends since
Rock’s first picture, “Fighter Squadron.”

“I can still see him on that first day in
front of the cameras,” recalls Stack. “He
was very shy and awkward and humble.
And kind of apologetic for being there at
all. But he was also very big, very hand-
some.”

Stack echoes the sentiments of most of
his friends, both in Hollywood and Win-
netka, who find that success has spoiled
Rock Hudson very little.

‘The thing I like about him,” says Bob,
“is to find someone who really has stature,
must know he has it, and yet doesn’t show
it. He seems to be almost apologetic for
being successful.”

Most of Rock’s friends say success has
not changed him at all.

“He’s still the same old goofball,” says
Gloria Matteoni, who has known him since
childhood.

Barbara Krefit, who used to double-date
with him in Winnetka, says, “He still has
that infectious smile and the ‘Andy Gump’
laugh. He has more poise but that’s be-
cause of experience.”

The only significant change in Rock
seems to be one of attitude. Until now
he has sat by quietly and let other people
guide his career. He’s always felt lucky
because he was so unsure of himself as
an actor. But the accolades he has re-
ceived from pictures like “Magnificent
Obsession,” “Giant” and “Battle Hymn”
have given him a feeling of new confi-
dence.

Now he talks of trying his wings on his
own. He has formed a company with
Henry Ginsberg, co-producer of “Giant”
and plans to make pictures in which he
plays off-beat roles. He wants to do a
drawing room comedy first, followed by a
Western.

And, as a married man, he has plans for
a family. “I’d like a lot of kids to make
up for being an only child,” says Rock. “A
boy first, after that it doesn’t matter, as
long as it’s a big family.”

As I started by saying at the beginning
of this article, Rock is really a pretty ordi-
nary guy. That is probably not only the
secret of his success— it’s also what makes
him unusual. The End

GO SEE: Rock Hudson in U-I's "Battle Hymn" and
"Written on the Wind," M-G-M's "Something of
Value," and TCF's "A Farewell to Arms."

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Flight From Fear

( Continued, from page 36)
him; I don’t even like to think about him.
You wouldn’t believe the things he does.”

An actress, an extremely sensitive and
perceptive girl who is a good friend and
great admirer of Monty, agreed to discuss
him only because she and I have been
friends for years. She told me that his
behavior on location for “Raintree County”
in Kentucky was “unbelievable.”

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about the time they got there, Clift broke
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for no reason she could fathom, Clift sud-
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Some mornings, Clift would appear in
excellent humor, and it would be a fine
experience to work with him. But at lunch
time a depression would appear to grip
him, and in the afternoons he could not
seem to keep himself from trembling.

“Was he drinking?” I asked.

“I could never smell anything on his
breath,” she said.

“What was he doing, then?”

“I don’t know,” she said. “I think he was
in great pain, pain that was almost too
much for him.” She put her hands to her
face, as though trying to erase the memory.
She was sorry for him, she said.

“Believe me,” she added, “this is a sick,
sick boy. I’m not saying that lightly. If I
had my way, he would be in a sanitarium
where he could get some help. Oh, I wish
he would go to one. I wish there were
some way he could get help.”

I said substantially the same thing to
Clift myself one afternoon at his house.
He looked at me indignantly. He said, “I
don’t know what you mean.” And for a
moment I felt as some of the people on the
lot felt during those moments when he
had control of himself and was functioning
as the superb actor he can be. Perhaps, I
thought, I am wrong; perhaps the ap-
pearance of this man, his nervous man-
nerisms and his sudden movements, come
only from the great strain he deliberately
puts himself under in order to do a part
the best way it can be done. And at one
point I even had the wild notion that per-
haps a perverted sense of humor was
leading him to play a part in real life, in
order to hide his actual bitter feelings
toward the world. Hollywood offers great
rewards for a fine actor, but life in Holly-
wood can be disturbing at times.

Then I saw him abruptly start forward
in his chair, and I knew that I was in the
presence of a man sorely troubled by
problems he evidently was not yet able,
or willing, to solve.

That deepened the mystery of Mont-
gomery Clift — for, without exaggeration,
Clift is an enigma. Some of his close
friends pretend to understand him. Others
behave as though he is a normal, well-
adjusted actor. A director I spoke to was
part of this protective coterie. “What’s the
matter with Monty Clift?” I asked.

“Matter?” the director said, blandly.
“Is there anything the matter with him?”
It was pointless to attempt to pursue the
issue. I thanked the director and left.

Shortly thereafter I had a brief con-
versation with Rod Taylor, the handsome
Australian who plays a newspaper editor
in “Raintree County.” Taylor is a tall,
broad-shouldered man, with a thick mane
of hair and the slightly pompous manner
of the old-school actor. “Monty,” he said,
“is the most exciting man I’ve ever worked
with. He’s vibrant — he lifts you up, gives

you a sense of excitement which is very
important in bringing out your best per-
formance.” Every sentence he uttered was
overloaded with praise.

Taylor had just come out of Clift’s dress-
ing room. I glanced back over my shoulder
and had a clear view of the object of all
his adulation.

Clift was slouched over the table, staring
at his reflection in the mirror. His eyes
were deep and brooding; his expression
was one of what I interpreted as agonized
disgust. His face was that of a man carry-
ing a monumental emotional burden. It
was pouched and baggy, full of shadows
and blotches; not even makeup could hide
the trouble it exhibited to the world.

When Clift emerged from the dressing
room to rehearse a two -minute take, he
lurched toward an assistant director and
leaned on the man’s shoulder. He threw his
left arm around the a.d.’s back and
slouched his full weight against him, let-
ting his head roll over to one side so that
it bumped the other’s head. Thus sup-
ported, he half-dragged himself the thirty-
odd feet to the set. “That’s Monty’s way
of expressing affection,” an M-G-M press
agent said at my elbow. “When he likes
somebody, he shows him.”

Another man had a different version.
“It’s his way of expressing affection, all
right,” this man said. “But he doesn’t do
it in the ordinary way — he leans his whole
body on people, falls all over them. In a
way, that’s symbolic. Monty throws him-
self into everything he does, but especially
into his dependence on other human
beings. He needs people so desperately he
can’t let up in the demands he has to
make on them. But he gives nothing in
return. He doesn’t know how.”

For nearly an hour I stood around and
watched the proceedings. The scene was
to run less than two minutes on the
screen. Rod Taylor, as the newspaper
editor, was dictating an editorial. Clift
was to come into the office and register
surprise as Taylor uttered a certain sen-
tence. Taylor, too, was to register sur-
prise at seeing him there — and was to
break off in the middle of a sentence and
ask Clift to sit down, telling him he would
be with him in a minute. Then he was to
send his secretary out of the office.

The simple little scene would have pre-
sented no problems to two mediocre
members of a college dramatic society. It
presented no problems to either Taylor
o- his secretary. But it did to Clift.

When he started to rehearse this bit he
grabbed at the doorknob and immediately
pulled his hand away as though some prop
man had charged the knob with elec-
tricity. “Something’s wrong with the catch
or the lock,” he mumbled. On the set,
when addressing his fellow workers, he
rarely spoke in an audible voice; when
asked to speak up, he would apologize and
shout across the sound stage.

“What’s the matter with the knob?”
Edward Dmytryk, the director, demanded.

Clift shrugged. “Doesn’t work.”

Two men in work clothes hastened to
the door and began examining the lock
and the knob and the catch. They pro-
duced tools, worked rapidly, then opened
and shut the door several times to make
certain that it was working the way they
wanted it to. Clift paced nearby.

One of the men working on the set said
wearily, “Whenever Clift gets a prop in
his hands, he tries to break it. It isn’t
deliberate. I don’t think he’s aware of it.
But it’s happened so many times, I know
that he unconsciously wants to break it.
Don’t ask me why, because I couldn’t
tell you. I don’t understand the guy.”

108

Edward Dmytryk, the director, later
confirmed this. “On the days when Monty
wasn’t feeling well, we could always de-
pend on some kind of delay,” Dmytryk
had to admit. “Finally we got used to it.
It took patience — that’s a director’s first
requirement, over and above all other
qualities — but the patience was worth it.
When he’s good, feeling good, he’s the
greatest. I personally like him. He’s too
valuable as a human being. You can’t in
conscience lose patience with him, no
matter what he does.”

When the repair men finally had the
door fixed to their satisfaction, Clift lifted
himself from the a.d.’s shoulder and
slouched over to try the latch. He opened
it and closed it four or five times.

“Let’s run through it, Monty,” Dmytryk
! called, gently.

Clift stepped outside the door and stood
! stiffly while a makeup man came over and
i touched at his eyebrows with a pencil.

, His body was now erect and rigid, like a
I guardsman’s, as though he were tensing
himself to plunge into character. The a.d.
gave the signal, and the all-quiet bell
> clanged. Clift opened the door and Rod
Taylor began dictating. Clift entered the
; room. Taylor greeted him and went on
dictating. Clift sat down, and then Taylor
I dismissed the secretary. As the scene
I ended, Clift jumped to his feet, waving
his arms. “I did only everything wrong,”

‘ he said, loudly and hoarsely. “That’s all
i I did — everything.”

“Let’s do it again,” Dmytryk said, softly.

Clift whirled upon him. “Yes, sir, Mr.

; Dmytryk,” he shouted, “yes, sir!”

They did it at least seven times, and
i then they did it three or four more times
i for the cameras. At the end of each take
i Clift would either fall into the chair,
heavily, or seek out the leaning-post a.d.
i and drape himself over the obliging man.

When lunch time came he seemed ex-
i hausted, physically and mentally. He loped
over to his dressing room, fell across the
threshold, and slammed the door.

I was reminded, then, of something Burt
Lancaster had said to me a day or two
before: “Without exception, Monty Clift
| is the hardest-working actor I’ve ever
j known — perhaps the hardest worker in
I the business. Let me give you an example.
When he was signed for ‘From Here to
Eternity,’ he went down to see the author,
i James Jones, in Illinois months before we
• ; were ready to shoot. He spent days with
Jones, talking about the character of
Prewitt, trying to fix him in his mind.
That kind of sincerity of purpose is a
rarity out here. Nuts, it’s a rarity any-
I where.

“Monty had to learn to play th6 bugle
j for ‘Eternity’ — he studied for weeks. He
; had to learn to box — he worked out three
1 months with an ex-pug named Callahan.”

Fred Zinnemann, who directed “From
Here to Eternity,” elaborated on Lan-
caster’s remarks. “I’ve never known an
actor more devoted to his work,” he said.
“He thinks of the picture as a whole — in
that way, he’s like a director. It’s never
his part alone, as it is with most actors.
I He is constantly searching for the best
overall effect.” Zinnemann smiled. “Here
is how he throws himself into his work.
After we made ‘The Search,’ someone
said to me, ‘Where on earth did you ever
find a soldier who could act so well?’
What a compliment, eh? In ‘Eternity,’ he
wore himself out preparing and getting
in mental shape for his role.

» “ ‘Fred, I’m a snafu,’ he said to me one

day — meaning he was deliberately trying
to be the kind of hard-luck character he
played. The bugle — he would blow it out
the window at the Hollywood Roosevelt
I until all hours of the morning. He had no
tone, but he mastered the physical move-

ments necessary for playing. And he
drilled like mad, like any soldier — so he
would get all the steps exactly right. The
only other actor I ever knew who was
comparable was Brando, who, when he
was preparing for ‘The Men,’ actually
went into a paraplegic ward and lived
with the patients.”

David Lewis, producer of “Raintree
County,” has said, “I’m very high on him
as an actor — he’s the best there is. Eva
Marie Saint told me that working with
him was one of the most illuminating ex-
periences of her life — ‘One week with
Monty,’ she said, ‘has made working in
pictures worth it.’ He takes direction beau-
tifully— he will argue points, but only for
the good of the whole picture. In acting
instinct, intuition and intensity he is the
equal of some of the great female stars.”

Thinking of these conversations, I began
to wonder about Clift and his habit of
breaking props, or of getting “hung up” —
as his friends refer to it — by small, rela-
tively insignificant details. When I met
Clift, I asked him about it bluntly. He bit
his lip, he extended his long fingers and
interlaced them, and he moved about rest-
lessly in his chair.

“It has to do with the concentration, I
imagine,” he said. “You get yourself
tuned up to such a degree that anything —
any little thing — will break into it,
break the feeling, the mood, the thing
you’re trying to do. I can’t help it. But if
the concentration improves the character,
and it must — improve the interpretation,
that is — what does it matter?” I have put
some of the preceding words into italics
because that was the way Clift said them —
he would emphasize certain words with
a shouting exaggeration, as though he had
to make sure his listener understood.

Up close, that first day I met him, Clift’s
physical appearance confirmed my original
estimate. He appeared to be suffering
from great tension and lack of sleep. “It
was my birthday last night,” he said when
we met at three in the afternoon. “Jean
Simmons came over, Fred Zinnemann and
his wife, and we were up until all hours.”
His hands were shaking. His voice
was husky. There was a small cut
just beneath his left eyebrow, and the
backs of his hands were dotted here and
there with red-rimmed scabs, as though
he had clumsily cut or burned himself.

Clift’s lack of coordination is legendary
in Hollywood. It is attributed to his pro-
found immersion of himself in his roles;
he cannot coordinate physically the way
most of us manage to do because he is
so engrossed in pretending to be someone
else. He even finds it difficult to eat in
ordinary ways, one close friend says; he
scorns utensils and uses his fingers, even
for mashed potatoes. One night, at a
dinner party, the man on his right was
raising a glass of wine to his mouth just
as Clift reached down to his plate for a
handful of potatoes. As he was raising his
hand, some of the potatoes flew off and
landed in his companion’s wine. Clift did
not apologize. He seemed, the friend said,
unaware that he had committed any breach
of etiquette.

It quickly became apparent, during our
first meeting, that the whole idea of the
interview was repugnant to Clift. He feels
strongly that his private life is the business
of nobody but Montgomery Clift, and,
aside from acting, he steadfastly refuses
to discuss his current interests, his rela-
tionships with women, or his family. “Why
should my family’s privacy be invaded
just because I’m a movie star?” he de-
manded of me.

Yet at the same time I sensed a funda-
mental decency about him, a desire to
cooperate as much as he could . . . not
because he thought it was his respon-

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sibility as a nationally-famous actor, but
because somewhere in him, under the
fears and anxieties and aggressions and
burdens, there is a very human being who
is trying as best he can to adjust to the
human condition. “Monty,” one of his
friem's said to me in New York, “can be
one of the kindest, most generous, thought-
ful, considerate, loving human beings on
thv. face of the earth. There isn’t anything
mean or petty about him.”

But it is also true, as this friend hastened
to add, that Clift’s outer personality fre-
quently seems to get in the way of his
inner goodness. An actress who has
worked closely with him has said, “Every
time I go to work in a picture I get a
kind of ‘crush’ on my leading man. It’s
hard to explain to somebody outside the
business. It isn’t demonstrably sexual, but
there is a feeling that exists between the
two of you that lasts until the job is
done — and then you are left with a pleas-
ant, bitter-sweet feeling, as though you
actually had been in love with the person
a long time before, perhaps even in some
other life. I worked with Monty for sev-
eral months. But I never got that feeling
about him — I couldn’t get it because I
could never get close enough to him. The
real Monty Clift is hidden from sight and
he has no intention of permitting himself
to be seen. You know what? I sometimes
think Monty himself is afraid to look. He
uses his acting as an excuse for living.”

After my first meeting in Hollywood
with Clift I could not help contrasting it
with the first time I met him, five or six
years ago, in the Greenwich Village apart-
ment of Vance Bourjaily, the editor and
novelist. Clift appears to prefer the com-
pany of writers to that of actors and
actresses. (“I think,” one acquaintance
says, “he actually wants to be a writer
himself, and that sooner or later he will
devote much of his time to writing.”)
Bourjaily had given the party for James
Jones, whose book had been published a
short time before. Norman Mailer (who
wrote “The Naked and the Dead”) arrived
and brought Clift with him. At that time
Clift was more in demand than any other
young actor in Hollywood, and was turn-
ing down properties by the dozen. My
first thought when I met him was that he
looked and behaved less like a movie star
than any movie star I ever had met. He
was bright, animated, witty — not especially
talkative, but keenly alert to the frenetic
conversations, all very literary, going on
about him. He was dressed in a dark
tweed jacket and odd pants, and he had
shaved. He was having a fine time.

Around that time Clift’s name was being
linked with that of Elizabeth Taylor, who
recently had separated from Nicky Hilton.
She and Monty went out together fre-
quently in New York. They generally
chose small, out-of-the-way places seldom
patronized by celebrities. One night they
went for dinner to a place called Camillo’s.
They stayed until long after all the rest
of the guests had disappeared and most of
the waiters had gone home. They were
not drinking; they were talking quietly in
a dark corner. Lawton Carver, who was
then a co-owner of Camillo’s, suddenly
got an urge to paint part of the front
dining room that night. “You kids can
sit there if you want,” he said, “but I got
some paintin’ to do.” To his surprise,
Clift and Miss Taylor took off their shoes,
picked up brushes, pitched in and helped
paint the wall. “They stayed until two
a.m.,” Carver recalls. “We had a good
time — we just talked and painted up a
storm. I think Clift is a good joe.”

Other people have agreed with Carver.
Hedda Hopper, the columnist, has said
that the first time she went to dinner
with Clift he struck her as a simple, un-

assuming boy, totally unaffected by his
position or by Hollywood. Once, when they
were at Lucey’s, a famous old Hollywood
restaurant, he calmly removed his coat
and tie and rolled up his sleeves before
eating. Another time she asked him to
meet her at the Brown Derby. “Where is
that?” Clift inquired. Miss Hopper was
astonished that he did not know the lo-
cation of this old movie colony landmark.
But he seemed to ha re little regard for,
or concern with, Hollywood in those days.
Once he said to her, “Hedda, why don’t
you leave this place and move to the
United States?” His quoted remarks when
he first went to Hollywood frequently
were tinged with the same wry humor.
Once a columnist asked him if Elizabeth
Taylor, who had not done many romantic
parts, had found playing love scenes dif-
ficult in “A Place in the Sun.” Clift said
he didn’t believe she had, and added,
“Don’t forget, Liz began in the movies by
throwing her arms around a horse in
‘National Velvet’ — maybe that’s why she
was at ease with me.”

The Montgomery Clift of today is a
different man. He not only avoids inter-
views whenever possible, he seems to go
out of his way to make them difficult both
for himself and the reporter. When he
goes to a party, he seldom joins in the
fun. He will sit by himself at one end of
the room, apparently preoccupied with
some problem he is not willing to share.
He is seldom seen in public. In New York,
he will not even permit the mailman to
deliver mail directly to his apartment in
the East Sixties; he picks it up at a nearby
liquor store. He avoids many of his old
friends. Even his attorney and advisor in
Hollywood, Laurence Beilenson, says that
he does not completely understand him.
Nor do the people who work with him.

There are various theories for the change
in Montgomery Clift. The most popular
one is that he is bitterly disappointed over
his inability to make any kind of per-
manent relationship with Elizabeth Taylor.
Clift will not discuss Miss Taylor, except
to say that he admires her acting ability,
and she will not discuss Clift.

Another theory is that Clift is in love
with Libby Holman, the torch singer, who
was his constant companion in Hollywood
and New York for several years, and that
he is unable to make any sort of sensible
unity out of their attraction for each other.

Yet another theory is that Clift has
never been quite the same since the auto-
mobile accident he had last May 13, when
the car he was driving hit a power pole
on the road down from Elizabeth Taylor
and Michael Wilding’s house. Clift suf-
fered a concussion, a broken nose, and
various cuts, and lost several teeth.
“Monty has been in terrific pain ever
since,” says Millard Kauffman, who wrote
the script for “Raintree County.”

There may be elements of truth in these
stories. Clift was involved with Elizabeth
Taylor, and with Holman, and with a
number of other women. Certainly he has
been in bad physical shape since the ac-
cident. But none of these things quite
accounts for his present mixed-up state.
There are other factors in his life which
are equally important, some of which I
will recount in the next installment
Whether or not I can explain this brilliant,
unhappy man is something else again. As
a Hollywood writer friend of mine said
when I was researching this fascinating
story, “If you find out what makes Monty
Clift tick, the first person you ought to
tell is Monty Clift. Unless he finds out, he
may destroy himself.”

Don’t fail to read the second installment
of Richard Gehman’s absorbing story of
Montgomery Clift’s life, in the April
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112

Count Your Blessings

(Continued, from page 32)
this morning, you little rascal, and I’ll tan
your hide.”

Despite her words, Ann didn’t even try
to look stern.

Timmy had locked himself in his room
that morning. She’d been frantic outside
the door, imagining all sorts of calamities
that might befall him. Forcing herself to
be calm, she’d tried a dozen different keys
until she found one that fit. When she
saw Timmy not only unharmed but de-
lighted with his prank, her relief was so
great she merely clasped him in her arms,
thanking God that nothing had happened
to him. She couldn’t even bring herself
to punish him. That was one of the things
she wasn’t terribly good at, anyhow.

After she turned the light out in Tim-
my’s room she looked in on the baby
sleeping peacefully in the adjoining nurs-
ery. She was a good baby, Maureen Ann.
Full of smiles and gurgles, she hardly ever
cried. Ann, of course, was more relaxed
with the baby than she’d been with Tim-
my. Mothers usually are with the second
child. If she ran true to McNulty form —
and so far she’d been doing nicely indeed —
she’d have a chance to get a lot more re-
laxed before she was through.

She tiptoed out of the room and rejoined
her guests at the dinner table. Her cousin,
Teresa Lynch, was telling one of her de-
lightful Irish stories, and telling it very
well in her wonderful brogue. Ann had
heard it before — something about a horse
that had been given a pill to make him
run faster. Teresa came to the punch
line: “Sure an’ you’d better give me one,
too. I’ve got to run an’ catch the ould
creature.”

The story was a success. Ann smiled,
proud of her cousin. Teresa had arrived
from Ireland for a visit with Ann only a
few weeks before. It was nice to have
another blood relative of her own around
for a change.

In the midst of a family gathering like
the one that night, Ann still had to pinch
herself once in awhile to make sure it was
really true. She’d always lived in such
a small, self-contained world before she
married Jim. After both her mother and
her sister had passed away, there’d only
been her dear Aunt Cissie and Uncle Pat.
Now she’d become part of a large, lusty,
warm family.

“It’s the most wonderful thing in the
world,” Ann says, “especially if it’s a fam-
ily like the McNultys, who are closely knit
and really love each other.”

When you meet Ann Blyth for the first
time, you can’t help having a set of cer-
tain preconceived notions about her. You
probably heard her on the radio when
she was a child or maybe you saw her on
Broadway in “Watch on the Rhine.” Later,
you witnessed her develop from a child
singing star into the romantic lead in doz-
ens of movies. You know that she’s beau-
tiful, you’ve heard her golden voice, and
you’ve read about the struggles and trag-
edies of her childhood, her deep religious
feeling, her courage and her gentleness.
Yet you wonder whether the mental pic-
ture you’ve formed of Ann can possibly
correspond to the real thing.

After all, Hollywood being what it is, it
seems like a miracle that so gentle and
self-effacing a girl as Ann Blyth, who has
spen„ most of her formative years in these
surroundings, should reach such heights
of success and yet retain a spotless repu-
tation as well as achieve a rare degree of
marital happiness. But when you meet
her face to face, the mystery resolves it-
self.

Ann, in person, is fully as beautiful as

any of her pictures, but what captivates
you is her warmth, the calm sincerity of
her personality. As a bonus you’ll find
that she also has a delightful sense of
humor and that she talks well and easily
on any number of subjects. You notice a
special glow the instant the conversation
turns to her children and her family.
When I visited with her I wanted to know
more about her relationship with the large
McNulty clan — “the thundering herd,” as
people sometimes jokingly refer to them.

“To be quite honest, I think I was a lit-
tle scared at first,” she relates. “I was in
love with Jim and extremely fond of all
his family, but still I figured I had quite
an adjustment to make.

“But I needn’t have worried. I couldn’t
have picked sweeter in- laws even if 1
could have had them custom-built to my
specifications. And, incidentally, no mat-
ter what people might say about mothers-
in-law in general, Mother McNulty is tops.
She’s got the biggest, warmest heart of
anybody I know. All her sons’ wives are
simply ‘my girls’ to her. Why, she’ll even
share her most treasured recipes with us.
And she’s got some good ones, too.

“Besides,” Ann continued, “I have spe-
cial reason to be grateful to her. If it
hadn’t been for Mother McNulty, I’m
afraid it would have taken Jim a lot long-
er than it did to ask me to marry him.
He’d sought his mother’s advice about
some jewelry he wanted to get me for
Christmas, and she told him: ‘Jim, there's
only one piece of jewelry you should get
for Ann, and that’s a wedding ring.’ He
kept it in his pocket for a week before he
finally gave it to me a week before Christ-
mas back in 1952. I like to think, of course,
that he’d have gotten around to it sooner
or later on his own, but I’m glad his mother
speeded it up a little.”

All the same, the size of the family Ann
acquired when she married her Jim was
enough to give pause to any bride, and
especially one coming from as small a
family as Ann. Besides his mother and
father, Jim has four brothers and one sis-
ter, all of them married. Among the six
of them they have so far produced twenty-
one children, ranging in age from two
months to twelve years. Jim’s brother,
Dennis Day, is in the lead, so far, with six
children, followed closely by his sister,
Marie, who has five. The race is by no
means over, however. Brother Bill, the
youngest, who is still in the Army, already
has three. Ann, with two in less than
three years, certainly is holding up her
end of the McNulty tradition.

It’s easy to see that it would require a
medium-size hotel to be host to the entire
clan at one time. Such occasions, there-
fore, are fairly rare. The only regularly
scheduled events, always drawing large
crowds of McNultys, are anniversaries,
baptisms and children’s birthdays. Some
sixteen cousins plus mothers came to
Timmy’s first birthday party.

“Luckily we have a large garden and it
hardly ever rains in June,” Ann explains.
“That simplifies things a lot. And my sis-
ters-in-law are very helpful. Besides, they
certainly have lots of experience.”

Experience or no, there is usually a
great deal of noise at these parties, as is
to be expected with a gang of blessedly
robust, healthy youngsters. However, it
isn’t so much less quiet when the grown-
ups get together, though the noise is a lot
more harmonious. Take almost any group
of people with an Irish background and
you have a glee club. Take the McNultys
and you really have something. Though
Ann and Dennis are the only pros among

them, all of them are highly musical.
Singing and making music is as natural to
them as drawing a breath. Family dinner
parties at Ann’s usually start out quietly
enough with good food and good talk, but
they end up almost invariably with every-
body standing around the piano singing old
and new songs.

Ann, who likes to cook, always plans
and supervises all the meals and frequent-
ly takes a hand at cooking them herself.
Among her specialties are fried chicken,
Irish stew and corned beef, but she doesn’t
go overboard on Irish dishes, liking variety
and preferring to fit the menu to the oc-
casion.

“Maybe it’s not my place to say so,” Ann
smiles, “but I always have a lot of fun at
my own parties, not to mention those at
Mother McNulty’s, Marie’s or the rest of
the boys.

“Somehow the impression seems to have
gotten around that I’m something of a
plaster saint,” Ann continued. “All the
stories I read about myself seem to have
that tinge of sadness. I really don’t know
why.

“Certainly, it was a terrible blow to me
when my mother passed away. But when
she was alive, she gave so much of herself
that the memory alone would have been
enough to fill me with warmth and love
for the rest of my life. And I had my
aunt and uncle who were always like a
second mother and father to me.

“I remember Uncle Pat rigging up signs
on the jeep on his farm in Stamford, Con-
necticut, reading ’Radio Star at Five,’ and
another one, ‘Next Stop Hollywood.’ Hav-
ing no children of their own, they always
treated me like a daughter. They came
out to live with me and guide me after
mother’s death, and nobody could ask for
more love and affection than they gave
me.

“Another thing that’s always brought up
is the accident I once had which kept me
in bed for almost a year. Of course, it
was a terribly anxious year. There were
moments when I despaired of ever walk-
ing again. But God was good to me and
I recovered.

“My mother was one of the most devout
persons I’ve ever known and brought me
up in the Roman Catholic faith. I cherish
my religion and try to live by it. How-
ever, some of the people I respect most are
of a different faith.

“I might have fallen in love with Jim
even if he were not a Catholic, but I’m
very grateful that he is. The wonderful
part about our marriage is that everything
is so right. No matter how much love
there is, I believe that ‘rightness’ is one of
the most necessary ingredients for lasting
happiness.

“My own happiness is so great that I
often ask myself why I deserve so much.
That’s where my faith helps me. So many
people seem to turn to religion only in
times of trouble and despair, but the im-
portant part is to have humility before
God when all goes well.

“I think what I love most about my hus-
band is his great sweetness and under-
standing. It’s something that shines from
his face. He’s a thoroughly kind, generous,
decent man, incapable of any meanness.
On the other hand, he can be quite firm
on occasion. He’s much firmer with Timmy,
for instance, than I am.

“Needless to say, it’s never a picnic be-
ing married to a busy young doctor. There
is no such thing as regular hours, and
whatever plans we make are always sub-
ject to last-minute cancellation. Like all
doctors’ wives, I often find myself minus a
husband at a party even in our own home.
Mother McNulty frequently teases me:
‘With all these McNultys around, who’s
going to miss Jim?’ But I do, of course.

“Yet these are minor things. When I’m
with Jim and look around at all those
warm, friendly faces, and when I hear the
laughter and the singing and think of our
little ones, I count my blessings and I’m
thankful for all that’s been given me.

“I’m very happy being part of such a
large, warm family where everybody loves
everybody else. And family gatherings
where we always have so much fun are
necessary high spots to reaffirm the family
unity.

“But the best evenings are the ones Jim
and I spend alone together. After the
babies are put to bed, we have dinner and
talk over the events of the day. Later we
read or look at television. Some eve-
nings we may not exchange more than a
few words in an hour. To me, when two
people can sit in a room together without
speaking yet not be bored, just content in
each other’s company, that means happi-
ness.” The End

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113

Mike Todd and Liz Taylor attend
show before her back operation

Chatting with Dean Martin at
Hungarian Relief: Gloria Kreiger

THAT’S
HOLLYWOOD
FOR YOU

BY SIDNEY SKOLSKY

I wonder just how far Jayne Mans-
field would go for publicity. When they
point a camera at Jayne it’s always
tilted at the same angle. ... I believe
Lee Marvin is one of the best villains on
celluloid. . . . Frank Sinatra is unique.
He can be the villain and the hero in
the same movie. . . . Everyone but me
has seen Garbo walking alone in the
rain. The closest I came was spotting
the retiring Miss G. a half hour after
the rain had stopped. ... I keep think-
ing that Elia Kazan told Carroll Baker
to do a restrained Marilyn Monroe in
“Baby Doll” — not an obvious imitation.
Carroll has the doll-face stare and
keeps her mouth open, except that she
puts her thumb into it. . . . Isn’t it time
that Marlon Brando became Marlon
Brando again on the screen, instead of
letting the copycats try to be him? . . .
Anita Ekberg, of the unique fusilage,
said, “I am very much against artificial
beauty. It is very easy to wear sun-tan
makeup, but so much more fun to get it
for yourself.”

Eddie Fisher and I now insist that we
understand each other. . . . Elizabeth
Taylor is so beautiful I can’t believe her
even when she’s with Mike Todd, who’s
certainly for real.

P The only actress I can name quickly
who has that indefinable glamour is Ava
Gardner. As Joan Crawford once said,

114

“You can’t put glamour on like make-
up.” . . . Maybe the reason Elvis Pres-
ley closes his eyes when he’s singing is
that he doesn’t want to watch himself.
. . . I’m of the opinion that John Cassa-
vetes should be a bigger movie name
than he is — and probably will be. . . .
Deborah Kerr says, “The beauty of sex
appeal is that no man understands it,
and that’s what makes it more fun.” . . .
You could become a bit confused by
Debra Paget’s family. She has an ac-
tress-sister named Lisa Gaye and an
actor-brother named Rouell Shayne.
Then there are the Martin boys — not
the same family: Tony, who’s married
to Cyd Charisse; Dewey, who’s married
to Peggy Lee; and Dean, recently di-
vorced from Jerry Lewis. ... I recall
Zsa Zsa Gabor saying, “It’s not that I
have a lot of boy friends. It’s just that
I have a lot of friends who are boys.”

Tony Perkins’ best performance is
Tony Perkins. . . . Suggestion for Lana
Turner and M-G-M: Put Lana in “Cat
on a Hot Tin Roof.” The studio owns
the property and has a contract with
Lana. . . . According to movie biog-
raphies, George M. Cohan and Moe
(The Gimp) Snyder are look-alikes.
Also Sergeant York and Captain Billy
Mitchell. Not to mention Rocky Grazi-
ano and Paul Newman. . . . Ann Blyth,
explaining why she wears a frilly night-

Sidney makes a funny about Ed-
die Fisher, who understands him

gown to bed : “I don’t think you can
take off all vour clothes and feel like a
lady!”

I’ll bet Natalie Wood will turn out to
be a fine movie actress. She’s going
through a phase now, so be patient with
her. I am. . . . Gloria Krieger, who
actually made her first public appear-
ance at Hollywood's Hungarian Relief
rally, has been kept under wraps with
a Columbia contract for over four years.
She’s a great singer, has yet to appear
in a moving picture but you’ll remem-
ber her after you see her. ... I get the
impression from Mitzi Gaynor that she’s
playing Mitzi Gaynor, as designed and
manufactured by Mitzi Gaynor. ... I
was told by a popular actress: “For
years I lied about my age, but then I
had to stop. My children said I was
making them all illegitimate.” That's
Hollywood for you.

BRICK

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PHOTOPLAY

APRIL, 1957 VOL. 51. NO. 4

ANN HIGGINBOTHAM, Editorial Director EVELYN PAIN, Editor

NORMAN SIEGEL, West Coast Editor

jules saltman. Associate Editor
EDWIN zittell. Associate Editor
RON TAYLOR. Art Director
iris ROVEN, Assistant Editor
JANET craves. Contributing Editor

MAXINE ARNOLD

her mine CANTOR, Fashion Editor
Helen limke. Assistant West Coast Editor
mathilde iliovici. Assistant Art Director
phyllis davts. Assistant Editor
bob beerman. Staff Photographer
, Contributing West Coast Editor

SPECIAL BOOK CONDENSATION

Escape to Happiness (Doris Day) George Scullin

ARTICLES AND SPECIAL FEATURES

Lighthearted Heavy (Rod Steiger)

Fame Cloaks the Lonely Heart (Kim Novak) Maxine Arnold

Barefoot Boy with Cheek? (Tony Perkins) Joe H-yams

Between Heaven and . . . (Anne Baxter) Louis Pollock

Alas, He's No Hero to His Cat (George Nader) John Maynard

Know Not the Face of Fear (Lauren Bacall)

Love and Marriage and a Baby Carriage (Debbie Reynolds and

Eddie Fisher) Diane Scott

Monty's Brush with Death (Montgomery Clift) '. Richard Gehman

Ava Gardner’s Dry Tears Ruth Waterbury

The Hollywood Story: The Alight of the Distant Voices (Jacques Sernas)

Laughter Chases the Blues (Pier Angeli and Vic Damone) Pauline Townsend

A Date with Sal (Sal Mineo)

Ben Cooper, U.S.A .’

NEWS AND REVIEWS

Hollywood for You ... .Sidney Skolsky 4
Let’s Go to the Movies. . .Janet Graves 8
Brief Reviews 16

SPECIAL DEPARTMENTS

Over the Editor’s Shoulder

Readers Inc.

Cal York’s Inside Stuff 18

Casts of Current Pictures 38

Exclusively Yours Radie Harris 54

Here They Are: Contest Winners 31

LIVING W ITH YOUNG IDEAS

It’s Raining Fashion!

Crossword

Puzzle. . . .

Blouse Treats

Needle News

How to Be a "Designing Woman”

Photoplay

Patterns. .

Helen Rose

Becoming

Attractions

STARS IN FULL COLOR

Tony Perkins.
Anne Baxter.

George Nader 49

Debbie Reynolds 52

Eddie Fisher 52

Ava Gardner.
Pier Angeli..

COVER: Color portrait of Kim Novak by Peter Basch. Kim is starred in Columbia’s "Jeanne Eagels"

and "Pal Joey."

Your May it.sue will be on sale at your newsstand on April 4

* PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications. Inc., New York, N. Y. EXECUTIVE.

• ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street, New York 17. N. Y. Editorial branch

° office, 321 South Beverly Drive, Beverly Hills, Calif. Irving S. Manheimer, President; Lee Andrews,

„ Vice-President; Meyer Dworkin, Secretary and Treasurer. Advertising offices also in Chicago and San

* Francisco. SUBSCRIPTION RATES: $2.50 one year, $4.00 two years, $5.50 three years, U. S., its

* possessions and Canada. $5.00 per year all other countries. CHANGE OF ADDRESS: 6 weeks’ notice

essential. When possible, please furnish stencil-impression address from a recent issue. Address change
can be made only if we have your old as well as your new address. Write to Photoplay, Macfadden Publications, Inc., 205
East 42nd Street, New York 17, N. Y. MANUSCRIPTS, DRAWINGS AND PHOTOGRAPHS will be carefully considered but
publisher cannot be responsible for loss or damage. It is advisable to keep a duplicate copy for your records. Only
material accompanied by stamped, self-addressed envelopes or with sufficient return postage will be returned.
FOREIGN editions handled through Macfadden Publications International Corp.. 205 East 42nd Street, New York 17,
N. Y. Irving S. Manheimer, President; Douglas Lockhart, Vice-President. RE-ENTERED as Second Class Matter
May 10, 1946, at the Post Office at New York, N. Y., under the Act of March 3, 1879. Authorized as Second Class
mail P. O. Dept., Ottawa, Ont., Canada. Copyright 1957 by Macfadden Publications, Inc. All rights reserved under
International Copyright Convention. All rights reserved under Pan American Copvright Convention. Todos derechos
reservados segun La Convencion Panamericana de Propiedad Literaria y Artistica. Title trademark registered in U. S.
Patent Office. Printed in U.S.A. by Art Color Printing Company. Member of TRUE STORY' WOMEN’S GROUP-

“Let me tell you about DEAN MARTIN’s high-jinks

in'TEN THOUSAND BEDROOMS: He sings

love-songs in romantic Rome to not one,
not two, not three, but four
luscious lovelies (all sisters!) and
happens then makes the most enticing,
exciting story ever set to music!”

\ \

M-G-M presents

DEAN MARTIN

in his first solo starring role in

TEN THOUSAND BEDROOMS

in CinemaScope
and METROCOLOR
co-starring

ANNA MARIA
ALBERGHETTI

EVA BARTOK
DEWEY MARTIN
WALTER SLEZAK
PAUL HENREID

with

JULES MUNSHIN • MARCEL DALIO

Written by LASLO VADNAY and ART COHN, WILLIAM LUDWIG and LEONARD SPIGELGASS • New Songs: Music by NICHOLAS BRODSZKY
Lyrics by SAMMY CAHN • Directed by RICHARD THORPE • Produced by JOE PASTERNAK • An M-G-M Picture

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Tony Curtis thinks a columnist’s job
is glamorous and Sidney Skolsky thinks
the same thing about Tony’s wife Janet

I wish Marlon Brando would return
to playing Brando. As much as I’m
opposed to an actor being typed. I miss
Marlon in this role and don't willingly
accept substitutes. . . . Privately, Elvis
Presley plays records of singers who
make the lyrics clear and intelligible.
. . . Wonder why Jose Ferrer overacts
when someone directs him in a movie
and underplays when he directs him-
self? ... I’d like to know which picture
Arthur Godfrey likes better: “The
Great Man” or “A Face in the Crowd.”
. . . Tony Curtis told me if he hadn’t
become an actor he might be a press
agent, or even a columnist. . . . Archi-
bald Alexander Feach is a marquee
name, but you see it as Cary Grant.
. . . The best female singer in pictures
is Doris Day. The best male singer in
pictures is Frank Sinatra. It’s about
time they teamed to make another pic-
ture together. . . . I’m of the opinion
that “Baby Doll” could have been as
big, if not bigger, without the ban. . . .

sing!

Diana Dors once said she

owed everything to three dimensions:
35 bust, 23 waist, 35 hip. . . . Anita
Ekberg told me she dislikes people who
sit and stare at her. “Just because I’ve
been put together well is no reason for
people to stare at me. It’s still impolite.”

Yul Brynner is going to change his
performance in his next movie by wear
ing a toupee. . . . How long can the
Marilyn Monroe type crash through?
With king-size Jayne Mansfield, I’d say
as Oscar Hammerstein wrote it in a
lyric: “They’ve gone about as far as
they can go.” . . . “No matter what any
one might comment about me,” declares

Continued

Actually filmed
in France —
on a spree
Paris will
never forget I

Audrey’s Hep!;

She's letting
her hair down^H
all the way
rockin’ and rollin’
with Fred Astaire ^
in her first
big musical

ffepbur

Great Gershwin Tunesl

Wj ' “ ’S Wonderful”
yjj "Clap Yo' Hands”
“How Long Has This
Been Going On?”

/' and 8 more — including
II the brilliant “Bon dou

1 1 Paris” number tha

,1 makes all Paris a stage

EMPATHY!

Words can't
describe it — but
wait till Audrey
demonstrates it!

A Paramount Picture

KAY THOMPSON

with MICHEL

ROBERT MUSIC ANO LYRICS

. llini lin n rilVlin BY GEORGE AND IRA cHORE°GRAPHV BY tjJGtht LORING PROOUCEDBY OIRECTEOBY WRinEN by Trnillimni nnti

AUulAIK iLlMYNu GERSHWIN SONGS STAGEO BY STANLEY OONEN ROGER EDENS ' STANLEY DONEN ' LEONARD GERSHE ' I tliHNIbuLUK

THAT’S HOLLYWOOD FOR YOU Continued

WON’T YOU
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Jayne, “the fact is tl;at I grew my own
figure.” . . . I’ll wager that Joan Black-
man is going to be one of next year’s
movie stars! . . . When asked what was
her greatest struggle. Joan Collins told
the interviewer: “Getting into my tight
evening dress.”

I'm waiting to see Kirk Douglas play
a modest, naive fellow, such as Tony
Perkins portrays offscreen. . . . Jane
Russell in “The Fuzzy Pink Nightgown”
(alluring for a marquee) plays a movie
actress who is mysteriously lured and
kidnapped. While making the picture
Jane never realized the same role would
make a star out of Marie McDonald.

. . . I’ve grown accustomed to Natalie
Wood, and am becoming fonder and
fonder of her. . . . But what’s with Nick
Adams? He hasn’t ever met a friend
who doesn’t happen to be a celebrity
— and without the celebrity becoming
subject of a gushy magazine article.

. . . When Rossano Brazzi was last visit-
ing here, he told me he doesn’t object
to a touch of feminine temperament. “I
love the beauty in a woman’s face when
she flares up as much as I admire her
look of regret after it has happened.”
. . . June Ally-son could get to be known
as the retread actress. June played the
lead in “You Can’t Run Away from
It” (originally “It Happened One
Night”) and now she’s doing the re-
make of “My Man Godfrey.” ... If
the marquee advertised Luis Antonio
Damaso de Alonso, you’d be seeing your
old friend Gilbert Roland. . . . Two
Western stars who ride horses best are
John Wayne and Joel McCrea. both of
whom were raised and attended school
in Hollywood. ... I’d like to see Janet
Leigh get the glamour treatment and

June Allyson and husband Dick Powell
seem quite content ivith her “ retreads ”

sex build-up. She has the natural equip-
ment to be a prominent movie star. . . .
I watched Mike Todd eating popcorn at
the movies. . . . Kim Novak’s stardom
continues to shine brighter. Yet Kim
will admit she’s no smartie-pants.
“Somehow I managed to graduate from
high school, but I think the fact I had
a lot of male teachers helped.”

Shirley MacLaine has yet to do any-
thing in a movie as good as her screen
test. When Shirley does, it’ll be a riot.
. . . At a party, I always enjoy sitting
at the same table with Debbie Reynolds
and Eddie Fisher. . . . The first man
to build a home in Beverly Hills (year.
1907 ) was Burton E. Green, who named
the community after a place called
Beverly Farms in Massachusetts. . . .
Mamie Van Doren would like you to
know she has no secret formula to make
her hair the shade it is. “Zsa Zsa once

Tab Hunter believed he could sing, has
proved it. Jan Chaney's happy for him

tried to get it from my hairdresser.” . . . 1
Meanwhile Miss Gabor advises the gals:
“A man prefers his girl friend to be
just bright enough to realize what a
bright person he is.”

I wonder if Rock Hudson still acts
like a movie fan about Lana Turner. . . .
Incidentally, U-I has them both signed
and could co-star them in a picture,
which would be smart! . . . The United
States of America celebrates Eva Marie
Saint’s birthday with her. Because she’s
a regular Yankee Doodle Dandy, born
on the Fourth of July. . . . Two boys
outside the Rodeo School on the side
walks of Beverly Hills: “How’s youi
father?” “Why do you ask?” “Because
last year he was my father.

That’s Hollywood for you.

because you are the very air he breathes...

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LEX’S GO
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XI I E MOVIES

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’S’S COOD

V FAIR

The Happy Road M-c-

k'WV' Back from France comes producer-director-sts
Gene Kelly, with a honey of a movie that combines hear
hilarity and good sense. As a brisk American bus
nessman in Paris, a widower, Gene has put son Bobb
Clark in a Swiss boarding school, but the kid makes
getaway, intent on joining his father. Along with hii
goes Brigitte Fossey, whose divorcee mother, too, is i
Paris. While Gene and Barbara Laage team up to fin
their children, the runaways breeze across country, aide
by French youngsters. In a choice sequence, they’r
chased by an entire NATO force, under the command o
stuffy Britisher Michael Redgrave. Both children ar
charmers, entirely natural. famil

Gene thinks the French are inefficient; Barbara Laage calls Americans unfeeling; but at this moment they declare a truce

As Swiss greetings show, the music of Louis
Armstrong speaks an international language

The Saga of Satchmo uj

k'VW' More than just a record of Louis Armstrong’s
triumphant travels, this is also a close-up of a vital per
sonality and an exciting concert, alive with the rhythm;
of classic Dixieland jazz. The music of Armstrong anc
his men is welcomed by the Swiss, the French, the English
with foot-tapping enthusiasm or solemn concentration
There are extra thrills on Africa’s Gold Coast, when
Louis believes his ancestors lived. In every action, ii
all the facts about himself that he gives to produce)
Edward R. Murrow, “Satchmo” comes across as a happ)
man. widely respected and enormously successful in worl
that he deeply loves. famil-

Continues

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LET’S GO TO THE MOVIES Continued

V'V'V'y excellent VERY GOOD COOD y1 FAIR

Rock, a combat pilot, helps Anna Kashfi with a pleasant chore

Battle Hytnil U.I.; cinemascope, technicolor

V'V'V'V Though war is the dominant background, here’s a tender,
warmdiearted film, centering on the havoc among innocent by-
standers. Rock Hudson has the deeply sympathetic role of
Colonel Dean Hess, who lived this remarkable story. As Hess,
Rock is a World War II Hyer who accidentally bombs a Ger-
man orphanage. A preacher in civilian life, he can’t go back
to his vocation with a clear conscience, even with the encourage-
ment of wife Martha Hyer. Recalled to active duty in Korea,
he becomes involved in the fate of orphans, victims of the fight-
ing. The lovely Indian actress Anna Kashfi (seen in “The
Mountain”) plays a Korean girl who has the aid of ancient
Philip Ahn in caring for the children. Dan Duryea and Don
DeFore are “tough” Americans. family

Using feminine wiles, Susan plans to do a hatchet job on Kirk

Top Secret Affair warners

yyy In a knockabout romantic comedy, Susan Hayward and
Kirk Douglas are a handsome pair. Susan’s a news-magazine
big shot, annoyed because her choice for a top atomic-energy
post got the government go-by. So she’s out to ruin Kirk, though
this Army general has an outstanding record. Tittle dictators
in their separate fields, Susan and Kirk become the conventional
warring lovers, as she tries to trap the general into undignified
poses, to be shot by her candid photographer. There’s expert
support by Paul Stewart, as Susan’s too-perceptive second-in-
command, and Jim Backus, as Kirk's befuddled public-relations
officer. But the two stars, accomplished in dramatic roles, seem
ill at ease when they’re asked to clown, going at their antics
with the determination of good sports. family

BEST ACTINC: ROBERT RYAN, ALDO RAY

Not bad guys, hut two small bovs have Alan and Edmond covered

The Big Land WARNERS, WARNERCOLOI

V'V'V' Alan Ladd makes a fine, dependable hero in a Western
that follows a sensible course through post-Civil War history.
Leading a cattle drive to Missouri, Alan, along with fellow
Texans, gets gypped by dealer Anthony Caruso on the sale
price. But. in partnership with ex-drunkard Edmond O’Brien,
Alan develops a counter-scheme. He will bring the Texas cattle
to the rich grasslands of Kansas, where a new spur of the rail-
road may pick them up at a new town. Buyers gather to bid
for the herd at fair prices — only to be terrorized by Anthony
and his henchmen. The romantic angle is handled in a prop-
erly subdued manner, as Virginia Mayo turns from railroad
tycoon Don Castle to the dashing Texan. Little David Ladd
does an appealing debut in his dad’s picture. family

In a tough spot, Bob and Aldo forget differences they’ve had

Men in War u.a.

V'V'V'V' Any woman whose man has ever gone off to war feels
that he has had an experience she can never share or even un-
derstand. Direct, honest, full of tension, this picture gives her
a chance at least to imagine what might have happened to him.
In the bitter days of 1950, during the UN retreat in Korea,
Lieutenant Robert Ryan’s infantry patrol is cut off. He is
America’s typical “civilian soldier,” thoughtfully trying to do
his duty. As a sergeant the patrol comes upon, Aldo Ray is the
traditional fighting man, operating surely on instinct. No char-
acters are obvious, yet not one has to be explained. You know]
them by their actions and words. As Aldo’s beloved colonel,
speechless and almost helpless from battle shock, Robert Keith
is impressive. family

Unretouched photo of the hands of Mrs. Michyl Veach, St. Louis, Mo. Only right* hand was g'iven Jergens care,

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•Notice to doctors and dermatologists - for summary of test write The Andrew Jergens Co., Cincinnati, Ohio.

MOVIES Continued

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Albert Schweitzer hill-anderson

V'V'V'V' In terms of selflessness and service
to humanity, the subject of this movie bi-
ography may be the greatest man of our
times. Ranging from Europe to the heart
of Africa, this straightforward documentary
is done with great feeling. A little boy
(the only “actor” in the cast) shows how
the young Albert may have reacted to the
infinite possibilities of life. Touching fam-
ily photos re-create his background, but the
splendidly alive face of the venerable Dr.
Schweitzer himself dominates most of the
picture. The daily routine of his hospital
deep in French Equatorial Africa is shown
in sharp detail, with all its hardships and
brave improvisations. As an astonishing
accompaniment, there is the doctor’s pro-
found devotion to music, philosophy and
religion. family

Gun for a Coward

U-I ; CINEMASCOPE,
EASTMAN COLOR

VV'V' Without stinting on action, here’s a
Western that also plays up character, con-
trasting three brothers. In effect, steady
Fred MacMurray is father to the two
younger boys: Jeffrey Hunter, sensitive,
cautious, therefore accused of cowardice;
Dean Stockwell, rash and thoughtless. A
range war between cattlemen and farmer
squatters tests the mettle of all three. Ro-
mance also divides the brothers, as Janice
Rule tires of waiting for Fred and turns
to Jeff. The acting is generally earnest,
though Josephine Hutchinson doesn’t look
quite old enough to be Fred’s mother, and
Stockwell, once an excellent child actor,
seems here to be doing a distasteful im-
personation of the late James Dean, family

Drango u.a.

V'V'V' Bitterness and threatened violence
seething in the South just after the Civil
War keep suspense high. For personal rea-
sons. Jeff Chandler feels a sense of dedica-
tion when he takes over as “occupation
officer” in a hill town once ravaged by
Sherman’s men. Joanne Dru hates him be-
cause bis conciliation policy leads to the
lynching of her pro-Union father. As Jeff’s
young aide, John Lupton also urges that
he get tough. In his desperate campaign
to rebuild the wrecked, starving town, Jeff
is secretly opposed by Ronald Howard, as
a fanatic who won't admit that the Con-
federate cause is lost. Brilliant photography
points up the drama. family

Hot Summer Night m-c-m

'/V' Supposedly set in the present day, this
suspense movie actually harks back to the
early Thirties, when Dillinger-style bandits
hogged the headlines. On his honeymoon
with Colleen Miller, unemployed reporter
Leslie Nielsen decides to get his job back
through an exclusive interview with bandit
Robert Wilke. The enterprising newsman
winds up as captive in the gang's Ozarks
hide-out, dominated by crazed gunman
Paul Richards. family

Continued

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MOVIES Continued

Above Us the Waves rank, republic
pV With some of their top stars, the
British present a matter-of-fact, often sus-
penseful account of a mad World War
II venture. Officer in the submarine serv-
ice, John Mills promotes a daring scheme
for destroying the German battleship Tir-
pitz, which lias been preying on Atlantic
shipping. Human torpedoes, each driven
by two men. will he launched into Ger-
many’s inland waters. Bad weather defeats
this plan, whereupon Mills puts through
another: midget subs, from which frogmen
can emerge to attach explosives to the
Tirpitz ’ keel. He commands one; jaunty
John Gregson and earnest Donald Sinden
take the others. As simple physical action,
it’s an exciting yarn, hut even good acting
can't individualize its people. family

U-l; CINEMA-
SCOPE. EASTMAN COLOR

kV T ony Curtis draws a doubtful role
here, as the social-climber "hero.” In
flight from Chicago’s slums, he gets a job
as bus-boy in a swank western resort. His
deceitful romance witli icy heiress Martha
Hyer is obviously headed for disaster.
Oddly. Tony slights Martha's impish kid
sister, who knows all about his lowly

Mister Cory

Pretending to watch Kathryn Grant prove
her skill, Tony iias a few7 tricks ready

status and still likes him. In this part,
Kathryn Grant provides the movie’s bright-
est moments, with her hoyden charm. Still
determined, Tony turns gambler with nota-
ble success and gets into the big time
when he teams up with a smooth old pro,
shrewdly portrayed by Charles Bickford.
Though Tony also accepts the backing of
a notorious racketeer, he’s awfully slow in
realizing the illegal nature of his business.
While Tony isn't actually presented as a
heel, you feel that this is realty not the
kind of role that he can play most con-
vincingly. adult

Continued on page 30

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For fuller reviews, see Photoplay for the months
indicated. For reviews this month see contents page.

kWV AROUND THE WORLD IN 80 DAYS—
U.A.; Todd-AO, Eastman Color: Colossal! Yet it’s
light and entrancing. Stuffy Britisher David Niven
does the globe-circling jaunt on a bet in 1872, with
Mexico’s great Cantinflas as his valet, big stars
in bit parts. (F) January

BABY DOLL — Warners: A dazzling title-
role job by Carroll Baker speeds up a leisurely,
sex-loaded study of Southern eccentrics. As the
backward bride of Karl Malden, she’s wooed by
Eli Wallach, Karl's enemy. (A) February

V'V'V'V' BARRETTS OF WIMPOLE STREET,
THE — M-G-M; CinemaScope, Metrocolor: In one
of the world’s great love stories, Jennifer Jones
is Elizabeth Barrett; Bill Travers, fellow poet
Browning. John Gielgud's impressive as her fear-
some Victorian father. (A) March

S/Vv BUNDLE OF JOY— RKO, Technicolor:
Cheerful, disarming comedy with music casts Deb-
bie Reynolds as a department-store employee, as-
sumed to be the mother of a foundling, and Eddie
Fisher as the supposed father. (F) March

DON'T KNOCK THE ROCK— Columbia :

Bill Haley and other big names of modern music
provide the chief entertainment, while singer Alan
Dale's involved in a slight plot about a movement
to ban rock ‘n’ roll. fF) March

V'V'V'V EDGE OF THE CITY— M-G-M: Under-
standing, unpretentious drama of ordinary people.
John Cassavetes is an unhappy drifter who finds
healing in the friendship of Sidney Poitier, Negro
who works with him handling freight. (F) March

V'VV FOUR GIRLS IN TOWN— U-I; Cinema-
Scope, Technicolor: Hollywood takes a quietly
realistic, slyly amused look at itself. Would-be
director George Nader has a personal interest in.
Julie Adams and three other unknowns competing
for a top role. (A) March

V'V'V'V FULL OF LIFE— Columbia: A warm,
tender portrait of a family gives Judy Holliday
an off-beat role, as expectant mother. Dick Conte’s
her writer husband, who can’t get along with his
dad, Salvatore Baccaloni. (F) March

VVW GIRL CAN’T HELP IT, THE— 20th;
CinemaScope. De Luxe Color: Wacky fun through-
out, to rock ’n’ roll rhythms. Ex-racketeer Edmond
O’Brien hires press agent Tom Ewell to make an
overnight song star of sumptuous Jayne Mansfield,
who can’t sing. (A) March

V'V'V'V GREAT MAN. THE— Ci-I: TV people get
a going-over in a glittering comedy-drama. For a
memorial program, commentator Jose Ferrer inter-
views those who knew a folksy star, just killed.
Seems our late hero was a heel. Fine acting all
around. (A) March

'/'/'/ HOLLYWOOD OR BUST— Wallis, Para-
mount; Vista Vision, Technicolor: A pleasantly
daffy Martin-Lewis comedy, sending film fan Jerry
and gambler Dean on a California junket to meet
Anita Ekberg, Pat Crowley. < F) March

ISTANBUL — U-I; CinemaScope, Technicolor:
Eye-filling melodrama shot in the Turkish capital.
Errol Flynn’s an adventurer; lovely Cornell
Borchers, a mystery woman. (A) March

i/l/ KING AND FOUR QUEENS, THE— -U.A.;
CinemaScope, De Luxe Color: A mild Western, in
which Clark Gable spars with the women of an out-
law family, including Eleanor Parker, to latch onto
some well-hidden loot. IF) March

yy GOOD y FAIR

A — ADULTS F FAMILY

w PUBLIC PIGEON NO. 1 — RKO, Techni-
color: Red Skelton’s showmanship lifts a creaky
farce about a timid soul taken in by con-men.
Janet Blair’s his loyal sweetie. (F) January

PVkV RAINMAKER, THE— Wallis, Para-
mount; VistaVision, Technicolor: Funny, touch-
ing, fanciful tale of a farm family has Katharine
Hepburn as a lovable spinster, Burt Lancaster as
a dashing showman, Wendell Corey as his rival,
Earl Holliman as kid brother. (F) March

yW ROCK, PRETTY BABY— U-I: Lots of rock
’n’ roll, attractive young players give interest to a
story of teenagers’ problems. John Saxon, encour-
aged by Luana Patten and Sal Mineo, struggles to
put his band across. (F) February

yyy SILKEN AFFAIR, THE— RKO: In a gentle
worm-that-turns story, accountant David Niven
creates havoc by juggling the books, led on by
French model Genevieve Page. (A) January

yy SLANDER — M-G-M: Furious attack on the
scandal magazines. Steve Cochran, an evil-hearted
publisher, tries to blackmail puppeteer Van John-
son into dishing dirt on another celebrity. Ann
Blyth is Van’s wife. (A) March

yyyy TEN COMMANDMENTS, THE— Para-
mount; VistaVision, Technicolor: Overwhelming
DeMille epic of Biblical times, forcefully acted by
Charlton Heston as Moses, Yul Brynner as Phar-
aoh, many other stars. (F) January

yyyy THREE BRAVE MEN— 20th, Cinema-
Scope: Arresting, realistic drama casts Ernest Borg-
) nine as a long-time Navy Department employee
suddenly suspended as a “security risk.” Ray Mil-
land’s his lawyer. Borgnine’s wife and children
are also affected. (F) February

yy THREE VIOLENT PEOPLE— Paramount ;
VistaVision, Technicolor: Feminine-type Western.
Concealing her past, Anne Baxter ensnares rancher
Charlton Heston. His embittered brother (Tom
Tryon) creates more problems. (A) March

yyy WINGS OF EAGLES, THE— M-G-M ; Cine-
mascope, Metrocolor: Strange movie, mixing slap-
stick and tragedy. John Wayne plays flyer-writer
Frank Wead, fighting Navy brass, paralysis and
finally Japs. Maureen O'Hara’s his wife; Dan
Dailey, a non com pal. (F) March

yyyy WRITTEN ON THE WIND— U-I, Tech-
nicolor: Flamboyant close-up of a wealthy Texas
family. Bob Stack’s excellent as the irresponsible
heir, who marries Lauren Bacall. Rock Hudson
plays the steady friend; Dorothy Malone, Bob’s
reckless sister. (A) February

yyy WRONG MAN, THE— Warners: Alfred
Hitchcock tones down his usual style to present
Henry Fonda in the true story of a Stork Club
musician accused of robbery. As Fonda’s wife,
Vera Miles cracks up under stress. (F) March

yyyy YOUNG STRANGER, THE— RKO : Teen-
aged James MacArthur scores in a thoughtful study
of family relationships. Kim Hunter’s his mother;
James Daly, his movie-producer dad who fails the
boy in a crisis. (F) March

yy ZARAK — Columbia; CinemaScope, Techni-
color: Eastern Western, with Spanish Morocco
doubling handsomely for 19th century India. Out-
law Vic Mature is pursued by officer Mike Wilding
and dancing girl Anita Ekberg. (F) March

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Susan Strasberg must feel like the luckiest girl to be awarded such meaty roles as the
heroine in “ Stage Struck” and to have suave Herbert Marshall as her leading man

INSIDE STUFF

Cal York’s Gossip of Hollywood

False Rumor: The report that Natalie
Wood had spent the afternoon and eve-
ning at the Santa Inez Inn in Santa
Monica wit li still-to-be-divorced John
Ireland was completely erroneous.
What actually happened was Natalie
and some friends attended a luncheon
party at the Inn. John also was a guest
and was captivated by the vivacious
Natalie. Incidentally, Natalie seems to
he going her own sweet way these days
and ignores friends’ advice to slow
down. But while she seems to be on a
whirl of dates, it’s Nicky Hilton she
turns to most often. When she became
ill on the “Bomber B-52” set Nicky
was at the Warners lot in a jiffy;
and when he left for New York recently
it was Natalie who drove him to the
airport. They even quarrel publicly.

Lucky Girl: When Susan Strasberg
makes her second film, “Stage Struck”
she will enjoy the kind of “protection”
which few young players get these days

Continued

Is Natalie IFood dating too much? Some
say yes. Rad Fulton is one of many escorts

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IISISIDE STUFF Continued

Frank never seems to stop going
and fans often wonder what he’s
trying to prove. But meeting him
is exciting to Joan Blackman

and which every one of them needs.
Susie not only has Henry Fonda as
one co-star but the smooth and charm-
ing Herbert Marshall as the other. Even
if Susie weren’t the superb young
actress she is, those two would guar-
antee no scenes could go wrong.

Incidentally, there was a completely
false rumor going the rounds of Holly-
wood some time back that Marshall was
quite ill. There never was a word of

When an actor’s career is at stake
marriage sometimes sits it out on
the sidelines. Russ and Venetia
Tamblyn are fighting to save theirs

Harry Belafonte displays talent
entertaining Dorothy Dandridge
and John Justin with a calypso
on “Island in the Sun” location

truth in it. As evidence, look at Bart’s
work schedule in recent months. He
no sooner got back from making an
English picture with Arlene Dahl than
he was starring in the Loretta Young
TV show opposite Viveca Lindfors, did
a Lux video as “Now Voyager” and the
George Gobel show, as well as work-
ing on “Stage Struck” in New York,
and looking incredibly handsome in all.

Continued

Years from now, passers-by will note their initials
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INSIDE STUFF

Continued

His Brother's Keeper: Some people are
beginning to ask, “What is he trying to
prove?” when Frank Sinatra’s name is
mentioned. Ever since Frank and Ava
parted, Frank has been busy enough for
three men — making one picture after
another, night club engagements, TV
appearances and keeping up a busy
social life. And on top of that, Frank
always finds time to participate in more
charitable work than most stars with
far more time on their hands. One of
the big beefs Ava had with Frank
when they lived together was he didn’t
spend enough time with her — yet, dur-
ing that period Frank’s public appear-
ances were comparatively curtailed. We
remember one incident that took place
in a Chicago hotel when Frank was
there on a personal appearance tour.
Ava was with him. He’d promised to fly
on to Washington for a benefit perform-
ance, but Ava, bored with the whole
thing, insisted they return to California.
If it had been just another night-club
engagement Frank might have given in
to her wishes, because at the time he
was so in love with her she could twist
him around her little finger. But Frank
wouldn’t go back on a promise. He and
Ava had a big scene and she returned
to Hollywood alone. Though this took
place a long time before they finally
separated, we've always thought it was
the beginning of the end for them.
When a woman comes between a man
and his ideals, the “lady” rarely wins.

Tamblyn's Troubles: If the rumored
split-up with his lovely wife Venetia
Stevenson isn’t enough to make him un-
happy, Russ is also upset over the way
his career is going and he doesn't care
who knows it. M-G-M has had very lit-
tle for him to do and when he was
offered a part on TV in “Jack and the
Beanstalk” the studio wouldn’t let him
play it. Now Russ has a chance to get
some of his (Continued on page 102)

Dates with pretty girls like Felicia Farr
are helping Jack Lemmon forget his woes

. - .»

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©THE GILLETTE COMPANY

• y- • . ' '

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4 Monthly Contests, starting March, 1957
This Month's Contest Closes April 30, 1957

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• Everyone in the movie industry and
many, many others, in recent weeks,
have paid tribute to the brilliant, irasci-
ble and lovable Humphrey Bogart. On
page 50 of this issue. Photoplay tells
the moving and wonderful story of his
wife, Lauren Bacall. But among all the
newspaper stories and magazine pieces,
no one, we think, has told of Bogie’s
rich and unforgettable life better than
his friend and co-worker John Huston,
on the occasion of the funeral services.
So that our readers may have the heart-
warming experience of reading his mov-
ing words, we are presenting John
Huston's tribute here, just as he uttered
it:

“Humphrey Bogart died early Mon-
day morning [January 14, 1957]. His
wife was at his bedside, and his children
were nearby. He had been unconscious
for a day. He was not in any pain. It
was a peaceful death. At no time during
the months of his illness did he believe

John Huston Humphrey Bogart

he was going to die. not that he refused
to consider the thought — it simply never
occurred to him. He loved life. Life
meant his family, his friends, his work,
his boat. He could not imagine leaving
any of them, and so until the very last
he planned what he would do when he
got well. His boat was being repainted.
Stephen, his son. was getting of an age
when he could be taught to sail, and to
learn his father’s love of the sea. A few
weeks sailing and Bogie would be all
ready to go to work again. He was go-
ing to make fine pictures — only fine
pictures from here on in.

“With the years he had become in-
creasingly aware of the dignity of his
profession — Actor, not Star: Actor.
Himself, he never took too seriously —
his work most seriously. He regarded
the somewhat gaudy figure of Bogart,
the star, with an amused cynicism;
Bogart, the actor, he held in deep re-
spect. Those who did not know him well,

who never worked with him, were not
one of the small circle of his close
friends, had another completely differ-
ent idea of the man than the few who
were so privileged. I suppose the ones
who knew him but slightly were at the
greatest disadvantage, particularly if
they were the least bit solemn about
their own importance in the motion pic-
ture community. Bigwigs have been
known to stay away from brilliant Hol-
lywood occasions rather than expose
their swelling neck muscles to Bogart’s
banderillos.

“In each of the fountains at Versailles
there is a pike which keeps all the carp
active, otherwise they would grow over-
fat and die. Bogie took rare delight in
performing a similar duty in the foun-
tains of Hollywood. Yet his victims sel-
dom bore him any malice, and when
they did, not for long. His shafts were
fashioned only to prick the outer layer
of complacency, and not to penetrate
through to the regions of the spirit
where real injuries are done.

“The great houses of Beverly Hills,
and. for that matter, of the world were
so many shooting galleries so far as
Bogie was concerned, but his own house
was a sanctuary. Within those walls
anyone, no matter how elevated his posi-
tion. could breathe easy. Bogie’s hospi-
tality went far beyond food and drink.
He fed a guest’s spirit as well as his
body, plied him with good will until he
became drunk in the heart as well as in
the legs.

and. sitting on a little stool, he would
be lowered down to the kitchen where
another transfer would be made, and
again by wheelchair he’d be transported
through the house into the library and
bis chair. And there he would be, sherry
glass in one hand and cigarette in the
other at five-thirty when the guests

wo. uld start to arrive. They were limited
now to those who had known him best

Continued

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itor9s shoulder

Continued

and longest; and they stayed, two and
three at a time, for a half hour or so
until about eight o’clock which was the
time for him to go back upstairs by the
same route he had descended.

“No one who sat in his presence dur-
ing the final weeks would ever forget.
It was a unique display of sheer animal
courage. After the first visit — it took
that to get over the initial shock of his
appearance — one quickened to the gran-
deur of it, expanded, felt strangely
elated, proud to be there, proud to be
his friend, friend of such a brave man.

“As Bogart was brave, his wife was
gallant. He gave no thought to death;
she knew it was there, every hour of the
day and night — a dreadful shape slowly
materializing. A guest who would not
leave after half an hour. But never once
did she betray her awareness. Betty
knew, from the time he was operated on,
that at best it was a question of a year
or two. And out of the power of her
love she was able to hide her grief and
to go on being her own familiar self for
Bogie. She could not even afford to let
others know what she knew because in
that way the knowledge might get back
to him. So, she had not only to play a
role for Bogie, but for the world. It was
a flawless performance. She attended to
his every single want most often before
he, himself, knew what his want was.
She never missed a trick. From the day
of her marriage to him till the hour that
death parted them she was true — truly
true. It can only be put down to class —
class and love.

“Once years ago Bogie and a couple
of others and I were shooting the breeze,
rather tipsily I’m afraid, about life and
its meanings, and the question arose as
to whether there was any time of our
lives we’d like to live over again. All of
us except Bogie came out with pat an-
swers. Somebody said, “God forbid.”
Somebody else said he’d only like to
cancel out a couple of times. Then Bogie
spoke, ‘Yes,’ he said. ‘There’s a time
I’d like to relive — the years that I have
bad with Betty.’

“Bogie was lucky at love and he was
lucky at dice. To begin with he was
endowed with the greatest gift a man
can have — talent. The whole world came
to recognize it. Through it he was able
to live in comfort and to provide well
for his wife and children.

“His life, though not a long one meas-
ured in years, was a rich, full life. Over
all the other blessings were the two chil-
dren, Stephen and Leslie, who gave a
final lasting meaning to his life. Yes,
Bogie wanted for nothing. He got all
that he asked for out of life and more.
We have no reason to feel any sorrow
for him — only for ourselves for having
lost him. He is quite irreplaceable.
There will never be another like him.”

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Rod Steiger is a new man

LIGHTHEARTED

HEAVY

Goodbye glower, farewell to the
sinister croak — Rod Steiger has
music in his heart from now on !

• Move over, Crosby and Como! You
may be getting sweet-style singing
competition where you least expect it.
Expert actor Rod Steiger, who has
made the hero’s life miserable in hits
like “Oklahoma!” and “Jubal,” con-
fides that he has ambitions in the croon-
ing department! And, with one stage
musical (as well as the “Pore Jud”
number in “Oklahoma!”) to his credit,
lie has the voice to back them up. Be-
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composing, writing both words and
music for a ballad called either “I
Heard a Robin” or “Fly Away Free.”

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(Take the second title, Rod.) It’s right
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and he obligingly illustrates by doing a
perfect take-off on the lyric Cole de-
livery.

While he’s talking about this switch,
Rod has already pulled off another,
moving from nasty roles to his first
sympathetic stint, in RKO’s “Back
from Eternity.” And he tops that off
by going romantic in “Run of the
Arrow,” as a frontiersman who is the
beloved of Indian maiden Sarita Mon-
tiel.

On the personal side. Rod puts a
disclaimer on romance rumors linking
him with Elaine Aiken. Doing the
“just good friends” bit, he recalls meet-
ing Elaine at the Actors Studio in
New York, when she joined him in
presenting a “truly adult” love scene
that he had written himself. In Holly-
wood, he remembered her when he
heard that Paramount was seeking a
leading lady for “The Lonely Man.”
He recommended Elaine, saying, “She’s
not just an actress. She’s a talent.” Rod
took her to the studio personally, and
the pretty newcomer wound up with a
term contract at more than $500 a
week. Hearing this, an agent friend of
Rod’s told him, “You’re in the wrong
business! You could make a fortune as
a ten-percenter!”

Seems there are plenty of strings to
the Steiger bow. Bad guy, good guy,
crooner, lover, agent — Rod has a wide
choice of personalities, now that he’s
managed to break out of the man-you-
love-to-hate classification.

Rod is in RKO’s “ Run of the Arrow”

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MOVIES Continued from, page 14

ness

CinemaScopE

— ' A UNIVERSAL- INTERNATIONAL PICTURE STARRING

JEFF CHANDLER -JEANNE CRAIN
JACK CARSON • GAIL RUSSELL
' ELAINE STEWART

jjnternalioncnf

1 with GEORGE TOBIAS - EDWARD ANDREWS • PHILIP REED

What was
the secret of
the girl in the
TATTERED DRESS
- and why did
a whole town
fight to keep
it hidden?

and the
TATTERED

that almost
destroyed
their love!

Utah Blaine COLUMBIA

V'V Here’s a good, fast Western, with no
nonsense about it, with no fancy preten-
sions, but with plenty of shooting and
galloping. Gunslinger Rory Calhoun, feel-
ing a belated urge to settle down, accepts
an offer to manage a ranch that is prac-
tically under siege. Ruthless Ray Teal
wants to take over and break up both the
big ranches in this section, promising his
henchmen parts of the land. With pals
Paul Langton and Max Baer, Rory defends
the ranch where Susan Cummings lives,
also the neighboring property. family

Wicked as They Come Columbia

VV Told dead-pan, this is the story of a
femme fatale. Arlene Dahl schemes her
way out of New York’s slums by winning a
beauty contest, with a trip to England as
the prize. While TV producer Phil Carey
looks on sardonically, she lines up as vic-
tims photographer Michael Goodliffe, then
tycoon Herbert Marshall, then his boss.
Ralph Truman. When she’s in mortal dan-
ger, Phil comes to her rescue, understand-
ing that a teen-age experience has twisted
her outlook. adult

The Living Idol

m-c-m; cinema-
scope, EASTMAN COLOR

PV Spectacular backgrounds, from Aztec
ruins to the magnificent campus of the
University of Mexico, keep the eye pleased
throughout a supernatural-style thriller.
Reporter Steve Forrest, covering an arche-
ological expedition headed by James Rob-
ertson-.! ustice. is skeptical when the scien-
tist suggests that the Aztecs’ panther god
may still wield power. But any mention of
sacrifices to the god terrifies Liliane Monte-
vecchi, descended from its worshippers.
Suitably scary at times, the picture is slow
and wordy at others. family

With Steve Forrest, Liliane Montevecehi
forgets the mysterious evil pursuing her

HERE

THEY ARE...

Announcing the lucky winners
of Photoplay’s Cut-Out
Picture Puzzle Contest

To Mrs. Tillie L. Grzymkowski, Terry-
ville, Connecticut, goes the Grand Prize
of $2,000. Each of the following will
also receive a wonderful prize.

Dolores santoscoy, El Paso, Texas
Michael T. robinson, Dallas, Texas
MRS. FRANK MUTZ, JR., Pueblo, Colo.
claire L. cuillory, Lafayette, La.

MRS. william E. sprowls, Dallas, Texas

INEZ berry, Dallas, Texas

mrs. Joyce swadell, Petaluma, Calif.

MRS. ann ruth burke, South Braintree, Mass.
cecelia franckowiak, Chicago, III.
mrs. beverly J. russell, San Gabriel, Calif.
richard j. chiara, Cleveland, Ohio
mrs. Dorothy cruber, Westport, Conn.

MRS. ANGELO J. FRANCO, Columbus, Ga.

LORRAINE sommerfield, Eden, S.D.

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mrs. Joseph toriskie, Parma, Ohio
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rosemary l. hoover, Salisbury, Md.
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PAUL Morgan, Dallas, Texas
blanche bensinger, Lawrence, N.Y.

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eleanor m.gilkey jarish, East Hartford, Conn.

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Address your letters to Readers Inc., photoplay,

205 E. 42nd Street, New York 17, New York. We
regret that we are unable to return or reply to any letters
not published in this column. If you want to start a fan

club or write to favorite stars, address them at their studios.
For list of studio addresses, see page 100. — Ed.

READERS INC...

ELVIS VS. SEMI-CLAD GALS

In February Photoplay, Harriet Horo-
deck of New Jersey wanted to know what
teenagers thought about the half-nude pic-
tures of movie stars, whom nobody seems
to criticize, as compared with fully dressed
Elvis, whom everybody seems to criticize.
Well, I am a teenager and I agree with
Harriet — these women, like Ekberg, Mans-

John Saxon’s true story

field and Dors, are shameful. They show-
more of their bodies than their clothes.

P.G.

Chattanooga, Tennessee

Why must their waistlines also be their
necklines?

Wanda Richards
Mansfield, Illinois

I wonder why they wear anything at all.

Mrs. Roy Smith
Salem, Oregon

At least Elvis has enough sense to cover
his hip when he sings.

Donna Ries
Cincinnati, Ohio

I have just finished reading an article on
Elvis Presley in your magazine and had to
laugh w7hen it said that Elvis appeals to
girls of all ages. This is certainly true. When
I turn on Elvis’ records, our year-old daugh-
ter, otherwise a very quiet little girl, begins
to move with the music. She wiggles and
shakes, stamps her feet and waves her
hands. When I turn on Perry Como, she
goes to sleep !

Mrs. Richard Wiedmaier
Germany

INFORMATION, PLEASE

I heard that John Saxon came to Holly-
wood after someone saw his picture in a
magazine. Is this true?

Mary Beth Jones
Houston, Texas

It happened this way: John was attend-
ing drama classes in New York three years
ago. and helped pay his way as a photog-
rapher’s model. One of his assignments was

posing for True Story magazine. When the
magazine reached the newsstands, letters
bombarded the publisher asking for the
name of the young man in the picture. The
publisher was so impressed that he sent
the photographs to Hollywood agent Henry
Willson. Sight unseen, Willson sent John
a contract. A few months later Saxon ( then
Carmen Orrico) was on the Coast, headed
for Universal Studios. — Ed.

Robert Stack is a fine dramatic actor,
but I have heard that he has other artistic
talents — music, for one. True?

Dorothy Brewer
Bennington, Vermont

True. Thirty-eight-year-old Bob sings and
plays the clarinet and saxophone. He has
won particular distinction, however, in ath-
letics. In 1937 Bob was one of a five-man
team ( National Telegraphic ) which estab-
lished an unbeaten world record in skeet-
shooting. Another world record was icon by
Bob the same year for long-run shooting;
he made 364 consecutive hits. — Ed.

Is it true that a street is named after
Elvis Presley somewhere in England?

Jane Bowman
Silver Spring, Md.

True. Brighouse in Yorkshire now has a
Presley Drive. — Ed.

What's this I hear about trouble in Ot-
tawa over the showing of “Don't Knock
the Rock” at a local theatre?

Marilyn McVain
Vancouver, British Columbia

Jacques Rousay, a teenager of Hull,
Quebec, received a five-month sentence for
heaving an empty bottle through the screen

Bob Stack has many talents

of the Rideau Theatre in Ottawa during
a showing of “ Don’t Knock the Rock.” — Ed.

Can you tell me the screen names of Issur
Danielovitch, Tula Finklea, Alfred Cocoza
and Hugh Hippie? Also, what is Jose Fer-
rer’s real name?

Sam Rosenfinkle
New York, N. Y.

Issur is Kirk Douglas, Tula is Cyd Cha-
risse, Alfred is Mario Lanza and Hugh is

Hugh Marlowe. Jose’s real name is Jose
Vincente Ferrer Otero y Cintron. — Ed.

ROSSANO BRAZZI— TOO FRANK?

In February 1957, Photoplay printed an
article entitled “How to Have a Love Af-
fair,” as told by Rossano Brazzi. Our pur-
pose was simply to let you know what one
of Hollywood’s most popular stars thinks
about romance and marriage. Since then we
have received an overwhelming number of
letters in response to the article. Many of
you strongly disagree with Rossano; others
admired his happy family life and his deep
concern in preserving his marriage in di-
vorce-torn Hollywood. Photoplay here pre-
sents four letters, typical of the many re-
ceived on this difficult and highly contro-
versial subject. — Ed.

I have never read such a shocking article.
Since when are ten easy lessons given in
how to indulge in immorality, as the title
implies? I must say that Mr. Brazzi is lack-
ing in good taste to speak his mind so freely.
When a married man finds the need to take
a fascinating woman to dinner — being con-
siderate enough to cal! his wife and say he’s
having a script conference! — then some-

Who is Tula Finklea?

thing is very w'rong in his marriage. And,
I might add, in his character as well.

Millicent Beller
Clifton, New Jersey

I am a loyal reader of Photoplay, but
really! That Rossano Brazzi! “What the
wife doesn’t know won’t hurt her,” says he?
I shudder to think what kind of a world
we’d have if all families lived by these
standards — the men and the w’omen.

Mrs. B.J.E.

Kendallville, Indiana

Perhaps European marriages work out
with this sort of arrangement, but I don’t
think the American woman can accept the
role that Mr. Brazzi assigns the wife. It
seems to be, with him, a question of give
and take — Rossano taking and Lidia giving.

Phyllis Carter
Santa Monica, California

I am sure that a great many people will

Continued

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READERS I AC.

find fault with what Rossano Brazzi said
about love and marriage in your February 1
issue. May I come to his defense? One of
the most important things he and his wife j
have found with each other is a happy home j
life. Despite their shortcomings, the Brazzis 1
have achieved w hat many other couples long
for yet never realize. They have tolerance
and consideration for each other, perhaps
the secret of successful marriages. I should
like to mention, incidentally, that Mr. Brazzi
did not advocate the double standard. He 1
simply said that if a husband (lil ts, he should
not hurt his wife- by it. ‘'Lidia,’’ he said,

“is not the kind of wife to whom one is
unfaithful.”

Renzo Carlucci

Philadelphia, Pennsylvania

JAMES DEAN FANS WANT MORE

I am really shocked at the Editor’s note
in your January issue concerning James \
Dean. You say you will print nothing more
about him. But I keep thinking about the
thousands of Dean fans who want to hear
more. We reread our old issues and look for
new material in the current magazines. I
realize that it is easier to write about live
people who are doing things, and whose
activity can be discussed, whereas with
Jimmy there is only the story of his life,
which has been retold many times. Still,
Jimmy’s fans have not forgotten him. Is
there any possibility that we may read more
about him in Photoplay?

Mary Anne Condon

Chicago, Illinois

In deciding that we would say out final
farewell to James Dean, Photoplay was
responding to numerous letters requesting
us to do so. Since reading our decision, how-
ever, many of you who had remained silent
before have voiced opinions. You want more
about Jimmy and you told Us so. Photo-
play takes its lead from its readers; there
will be more about James Dean, beginning
right here in Readers Inc. — Ed.

“Crazy” may be what James Dean ap-
peared to some people, but these people
were not actors. Every actor seems a little
off his rocker. I have read a story about
someone who went up to Jimmy between
scenes for “Rebel” and started talking to
him as James Dean. Dean blew up and
said not to disturb him while he was “in
character.” This person therefore formed
an opinion about Jimmy that was untrue.

All I can say is. Jimmy had every right to
become angry with this person, if an actor
loses character, he is no longer “the other
person,” and therefore cannot perform. Stay-
ing in character requires a great deal of
patience and concentration. Dean was a
perfectionist.

Jimmy had a great talent besides his act-
ing— the talent which many actors never
have: Creating a devoted following. But
with Jim, this lasted beyond the grave.
Would he have wanted it that way? He
may have. But I do not think he would have
wanted a certain type which is following
him now7.

This type is the one now most widely
publicized. This type talks about reincarna-
tion. This type believes Jimmy was reck-
less, fickle, and in love with every girl he
ever met. This type believes he hated his
father and almost died with grief when his
mother passed away with cancer. This type
follows him as a saint and disregards the
fact that he was a human being like you
and me. Most of the boys in this type
thought he was a rebel against life, and
they ape him as he was in “Rebel.” They

Continued

never seem to realize that they are aping
Jim Stark of “Rebel” and not Jim Dean
of real life.

The girls in this type generally claim to
have loved him, and some say they still do.
This is unreal and unnecessary. I am all. for
keeping Jim’s: memory alive because I ad-
mired him as an actor and as a person. Rut
let’s keep that memory the way Jim really
was, not the morbid, crazed way it is now.

Betty Nelson
Hoopeston, Illinois

SHOULD INGRID COME BACK?

Everyone is talking about whether Ingrid
Bergman should come back to this country
as a citizen and as an actress. Here’s what
I think: It would be an insult to decency.
Miss Bergman disgraced her family delib-
erately. She was an adult at the time and
certainly knew what she was rloing. There
were other ways out of her dilemma, but
Miss Bergman chose the brazen way. Why
bring such a woman back?

Pete K.

West Palm Reach, Florida

Bring her back! She is a great actress,
and none of us is in a position to condemn
her for what she has done. I remember, at
the time when Ingrid first joined Rossellini,
that her husband would not give her a di-
vorce. She pleaded with him, offered him
a handsome settlement, but he refused.
Only after she bore Rossellini’s child was
he embarrassed into complying with her re-
quest. To those who ask what right Ingrid
had to leave Dr. Lindstrom for Rossellini,
I ask what right her husband had to forcibly
bind her to him when she loved, another.
Ingrid w'as never a run-around. But a man
or a woman, wisely or not, may deeply and
sincerely fall in love with someone else after
marriage. It happened to Ingrid. T honestly
believe that she did the best she could, with
honor or dishonor, depending on your prin-
ciples.

Mrs. Joseph MacPherson
Durham, North Carolina

I LIKE—

Here in Okinawa we have just seen “The
Teahouse of the August Moon,” and I would
like to say that it is a wonderful picture.
I brought our maid. Masako, with me. Ma-
labo is a native Okinawan and she thought
that Marlon Brando was perfect as Sakini.

Violet Taclan

Okinawa

I would like to express how much I en-
joyed Rory Calhoun’s article, “Look, Kid,
How Stupid Can You Be?” which you ran
a while back. Every word that Rory said
made me feel that I had finally found a
truly understanding adult. I am seventeen
and can’t discuss anything with ^ny mother
or stepfather. Rory’s article, I hope, will
open the eyes of my parents.

Betsy Haisten
Raleigh, North Carolina

I read your article on Yul Brynner in
the February issue. I disagree with some-
thing that Yvonne de Carlo said about him:
"He has that unknown quality that makes
you want to run away from him.” I think
Yvonne is a little mixed up. I wouldn’t run
away.

Mrs. B. Bodnar
Toronto, Canada

Last August Anthony Dexter played in
our Music Circus, which is produced here

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each year. He did “The King and I” oppo-
site Sarah Churchill. Even though the
movie, starring Yul Brynner, had played
just prior to this for four full weeks, Mr.
Dexter filled the house to standing room
every night of his performance. The critics
raved. One of the things they said was,
“How does Hollywood manage to hide tal-
ent like this?"’ Well, how does it?

Patricia Lenz
Sacramento, California

I DON’T LIKE—

I have been to Hollywood and was never
more disappointed in my life. If you go on
a tour, you have to leave your camera be-
hind. And you can’t get out of the bus. Is
this the way Hollywood shows its glamour?
It’s extremely difficult to meet movie stars
there, and I have met more in Montreal.

Barbara Davies
Montreal. Quebec

Last September you ran a photo of Nat-
alie Wood sitting cross-legged, .wearing
slacks, high heels and earrings. Not in good
taste for Natalie.

Barb Angle
Dowagiac. Michigan

I read in Photoplay and all the other
movie magazines that Liz Taylor's mother
forced her to have a film career, that she
didn’t really want to be in pictures. Well,
Liz is now over twenty-one. She has a mind
of her own. If she doesn’t like movies she
should quit instead of blaming her mother
for throwing her into that kind of life. She
also says that she never had any freedom
as a child. But I remember pictures of Liz
at seventeen going out on many dates, and
I also remember her engagement at that
time. Sounds like freedom to me.

Estelle Mann
Newark. New Jersey

In “Don't Knock the Rock" Bill Haley
said, “I always thought freedom of the press
meant a tailor who pressed your pants for
free.” I don’t think the rights of American
citizens should be joked about!

Joan Williams
Texarkana. Texas

NOBODY ASKED ME, BUT . . .

It’s my opinion that Natalie Wood is a
publicity fiend . . . Tab Hunter is a better
singer than an actor . . . Fernando Lamas
should come back to Hollywood . . . Luana
Patten is a darling.

Irene Robinson
Edgewood. Rhode Island

In 1957, I would like to see Cameron
Mitchell play a good guy . . . Vic Mature
keep his clothes on in movies ... a West-
ern with an altogether new plot . . . fewer
corny songs in good musicals . . . Jan Ster-
ling do a comedy . . . stories on Virginia
Leith.

R. J. S.

Longview. Texas

CATHOLICS AND DIVORCE

In your January issue, under a picture of
Maureen O'Hara in the article "Religion in
Hollywood,” I noticed an error. You stated:
“Catholics may be divorced, as Maureen
was, but the Church says they may not re-
marry.” I would like to point out that
Roman Catholics, in the eyes of the Church,
may not be divorced. Only death can dis-
solve a Catholic marriage.

Marilyn Reilly
Bloomington. Indiana

Continued

Thank you, Marilyn, for pointing out
what may have confused some of our read-
ers. Photoplay intended to convey but
apparently did not make clear, that Roman
Catholics may receive a civil divorce. This
affects only their legal marital status. Cath-
olics like Miss O'Hara, according to the
Church, are still married. Rut from the
standpoint of law and their obligations un-
der the law, “divorced” Catholics are no
longer man and wife. Miss O'Hara may
not remarry with clear conscience unless
her husband dies or the Church sanctions
a Catholic annulment. — Ed.

HISTORY OF PHOTOPLAY

I have been a reader of Photoplay for
many years and am curious about its ori-
gins. Can you tell me something of its his-
tory and the people connected with it in the
early days? What kind of a magazine was
it when it first began?

Mrs. C. H. Silch
Steamboat Springs, Colorado

Photoplay was born in 1911 and is the
oldest screen magazine. Today it is Amer-
ica's largest selling movie magazine, with a
circulation of over a million. In the early
days Photoplay was an entertainment
leaflet, and its first editor was James R.
Quirk. Quirk hired some well-known writ-
ers and set about making the magazine a
successful enterprise. One of the first things
he did was to start a column called “ Hints
on Photoplay Writing.” He also sent a
questionnaire to 1,000 newspaper editors all
over the country, asking, “Do you consider
the word ‘movie,’ as applied to a motion
picture theatre or film, a good one, and do
you approve of its use in your newspaper?”
National discussion in newspapers resulted.
“Movie” was approved, and Quirk ran a
two-page spread with the heading: “The
Question Is Now Settled.” Mr. Quirk also
started the Cal York column, still running.

Photoplay has many other “firsts” in its
history. It teas the first magazine to estab-
lish awards (The Photoplay Gold Medal
Awards) based on popular choice, via a
nationwide poll of America’s moviegoers. It
was the first screen magazine to have its
own on-the-spot photographer, and to shoot
its own photos rather than using studio pic-
tures. It was the first to back unpublicized
stars. Photoplay was the first screen
magazine to put big-name Hollywood writ-
ers under contract and to use writers from
other fields to talk about Hollywood.

During the course of the years the char-
acter of the magazine changed. In the be-
ginning of its history most of' the material
used consisted of short condensations of the
movies in story form. Gradually this gave
way to fan stories on personalities. — Ed.

ARE MOVIES TOO FREE?

There is a great deal of talk now about
freedom as applied to movie-making. In the
name of freedom such films as “Baby Doll,”
“The, French Line,” and “The Moon Is
Blue” have been shown. But I ask, where is
our decency? Why should freedom of
I speech, which producers vigorously defend,
permit us to depict immoralities on the
i screen ? Does not freedom of speech have
its limits in other areas? We are not al-
lowed to lie, libel and slander. Why then
should there be no limits in the area of
morality and good taste? Our freedom of
assembly does not allow us to riot, nor
should it. Yet many movies depict indecen-
cies in a glamorous light and by so doing en-
courage these indecencies.

Betty Harmacek
La Crosse, Wisconsin

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CASTS

OF CURRENT PICTURES

ABOVE US THE WAVES — Republic. Directed by
Ralph Thomas: Fraser, John Mills; Duffy, John
Gregson; Corbett, Donald Sinden; Admiral Ryder,
James Robertson Justice; Smart, Michael Medwin;
Abercrombie, James Kenney.

UTAH BLAINE — Columbia. Directed by Fred F.
Sears: Utah Blaine, Rory Calhoun; Angie Kinyon,
Susan Cummings; Mary Blake, Angela Stevens; Gits
Ortmann, Max Baer; Rip Coker, Paul Langton;
Rink Witter, George Keymas; Russ Nevers, Ray
Teal.

WICKED AS THEY COME — Columbia. Directed
by Ken Hughes: Kathy, Arlene Dahl; Tim, Phil
Carey; Larry, Michael Goodliffe; Collins, Herbert
Marshall; Mrs. Collins, Faith Brook; Dowling, Ralph
Truman.

ALBERT SCHWEITZER— Hill and Anderson. Di-
rected by Jerome Hill: Documentary; commentary
spoken by Fredric March and Burgess Meredith.

BATTLE HYMN — U-I. Directed by Douglas Sirk:
Dean Hess, Rock Hudson; En Soon Yang, Anna
Kashfi; Sergeant Herman, Dan Duryea; Captain
Skidmore, Don DeFore; Mary Hess, Martha Hyer;
Major Moore, Jock Mahoney; Mess Sergeant, Alan
Hale; Lieutenant Maples, James Edwards; Deacon
Edwards, Carl Benton Reid ; General Kim, Richard
Loo; Old Man, Philip Ahn; Gen. Timberidge, Bartlett
Robinson; Lt. Hollis, Simon Scott; Korean official,
1 eru Shimada; Major Harrison, Carleton Young;
Chu, Jung ’Kyoo Pyo; Capt. Reardon, Art Millan;
Navy lieutenant, William Hudson; Sentry, Paul
Sorenson.

BIG LAND, THE — Warners. Directed by Gordon
Douglas: Morgan, Alan Ladd; Helen, Virginia Mayo; I
J agger, Edmond O’Brien; Brog, Anthony Caruso; I
Kate Johnson, Julie Bishop; Sven Johnson, John
Qualen; Draper, Don Castle; David Johnson, David
Ladd; Olaf Johnson, Jack Wrather, Jr.; Dawson,
George J. Lewis.

D RANGO — U.A. Directed by Hall Bartlett and Jules
Bricken: Drango, Jeff Chandler; Marc, John Lupton;
Kate, Joanne Dru; C alder, Morris Ankrum; Clay,
Ronald Howard; Shelby, Julie London; Allen, Don-
ald Crisp; Mrs. Alien, Helen Wallace; Dr. Blair,
Walter Sande.

GUN FOR A COWARD — U-I. Directed by Abner
Biberman : Will Keough, Fred MacMurray; Bless
Keough, Jeffrey Hunter; And Niven, Janice Rule;
Loving, Chill Wills; Hade (Harry) Keough, Dean
Stockwell; Mrs. Keough, Josephine Hutchinson;
Clair, Betty Lynn.

HAPPY ROAD, THE— M-G-M. Directed by Gene
Kelly: Mike Andrews, Gene Kelly; Suzanne Duval,
Barbara Laage; Danny Andrews, Bobby Clark;
Janine Duval, Brigitte Fossey; General Medworth,
Michael Redgrave.

HOT SUMMER NIGHT— M-G-M. Directed by
David Friedkin: William Joe Partain, Leslie Niel-
sen; Irene Partain, Colleen Miller; Lou Follett, Ed-
ward Andrews; Oren Kobble, Jay C. Flippen; Ker-
mit, James Best; Elly Horn, Paul Richards; Tom
Ellis, Robert Wilke; The truckdriver, Claude Akins;
Ruth Childers, Marianne Stewart.

LIVING IDOL, THE— M-G-M. Directed by Albert
Lewin : Terry Matthews, Steve Forrest; Juanita,
Liliane Montevecchi; Dr. Alfred Stoner, James
Robertson- Justice; Elena, Sara Garcia; Manuel, Ed-
uardo Noriega.

MEN IN WAR — LT.A. Directed by Anthony Mann:
Lieutenant Benson, Robert Ryan; Montana, Aldo
Ray; Colonel, Robert Keith; Riordan, Philip Pine;
Zunckley, Vic Morrow; Lewis, Nehemiah Persoff;
Killian, James Edwards; Haines, Race Gentry; Sam
Davis, A1 Q. Jones; Mallow, Adam Kennedy; Mere-
dith, Scott Marlowe; Ackerman, Walter Kelley;
Christensen, Robert Normand; Penelli, Anthony Ray;
Lynch, Michael Miller; Korean sniper, Victor Sen
Y ung.

MISTER CORY— U-I. Directed by Blake Edwards:
Cory, Tony Curtis; Abby Vollard, Martha Hyer;
Biloxi, Charles Bickford; Jen Vollard, Kathryn
Grant; Alex Wyncott, William Reynolds; Earnshaw,
Henry Daniell.

TOP SECRET AFFAIR — Warners. Directed by
H. C. Potter: Dottie Peale, Susan Hayward; Maj.
Gen. Melville Goodunn, Kirk Douglas; Phil Bentley,
Paul Stewart; Col. Gooch, Jim Backus; General
Grimshaw, John Cromwell; Senator Burwick, Ro-
land Winters; Butler, A. E. Gould-Porter; Lotzie,
Michael Fox; Sgt. Kruger, Frank Gerstle; Bill Had-
ley, Charles Lane.

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Photoplay’s gold medal award-
winning STAR OF THE YEAR

Unasked and unimagined ,
the wonders came to pass

for Kim Novak . Now, alone,

she must fight to keep them

BY MAXINE ARNOLD

Fame

Cloaks

the

Lonely

Heart

• The train pulled slowly into the station. It
was a small town, quiet, unimportant. A few
people got on, a few descended to the platform.
The train paused several moments, then lum-
bered off. The town receded into the distance
and the past.

During those few moments Kim Novak
pressed her face eagerly to the window. She
was watching the shabby railroad flats drift
by; watching a man hawking newspapers;
watching a little girl straddling a ragged picket
fence and waving to the brakeman. She thought
about the little girl, living in the commonplace
railroad town. “I wonder if she’s happy here,”
Kim murmured wistfully. And then she wished
for the little girl a life as full and rich as her
own: Happiness and all the things she ever
wanted.

In Kim’s world of premieres and lovely
dresses and handsome escorts, it may seem odd
to wonder about a strange child living in a

Continued

To portray Jeanne Eagels, who
won fame as Somerset Maugham’s
Sadie Thompson, Kim must face
her career’s greatest challenge

Fame Cloaks
the Lonely Heart

Continued

The Jeanne Eagels of real life was a
tormented, often defeated misfit, torn
between reality and her public life.
It is a frightening portent for Kim

strange town. But Kim is different from most
of us. Her imagination likes to wander — often
into the far corners of other people’s lives.
When she was a little girl on Chicago’s Sayre
Street, she peopled it with make-believe in-
habitants; endowed inanimate objects with
souls and thoughts of their own. Shy, fearful
of strangers, the real dramas of life did not
touch her; only the drama of living within
herself. She could pour out her heart to a
rose or weep over the death of a leaf that fell
from a tree. Perhaps that is why, today, she
can give such sensitivity and warmth to a
make-believe movie character, as she did in
“Picnic” and “The Eddy Duchin Story.” Or
why she can wonder so poignantly about a
lonely little girl on a picket fence in a railroad
town.

Little Marilyn Novak had wished for a gang
to belong to. She’d wished to be popular. To
be beautiful. To have a pretty dress, store-
bought. To marry a prince. But most of all
she had wished to belong, to be accepted by
the crowd.

Although she could not then know it, her
wishes were to come true on a staggering scale,
far beyond anything she had ever envisioned
or even could humanly fulfill. And in that lies
the fateful irony.

Today Kim Novak is more popular than she
can believe possible of ( Continued on page 88)

A generation ago Jeanne Eagels found her private troubles and
public shame too much to be borne. Kim, too, faces problems

BAREFOOT BOY WITH CHEEK?

Moody , deliberately confusing , Tony Perkins tries hard to be a
character. Maybe too hard • BY JOE HYAMS

• It was a rainy day in Boston. A young boy, tall, slim
and spectacled, picked his way carefully along the slippery
sidewalks. He was hunched in a trench coat buttoned high
at the collar. His hands were in the coat pockets, which
was not unusual — except that the right hand was caressing
the butt of a revolver.

The boy was Tony Perkins, and at the time he was
imagining himself a famous private eye on the trail of a
criminal. The gun, purchased from a friend on installments
from Tony’s allowance, gave just the right touch of drama,
heroism and illicit adventure to the occasion.

Now let’s fade out and fade in ten years later. The same
boy, taller but still hunched and boyish, on the set of “The
Tin Star,” at the Paramount studio in Hollywood, is wear-
ing two guns slung from his hips. At a command he
draws them both with split-second precision.

The instructor comments, “Wonderful, Tony, that’s about
as fast as I have seen it done.” ( Continued on page 96)

Tony’s clothes reflect a studied
casualness. Here with Elaine Aiken

Could she have saved her
marriage to John Hodiak?

For Anne Baxter
there was once a husband
and love

and a challenging career .
Where did her life
take the wrong turn?

Between
Heaven a,zrd...

Can she give her child the
love she never had herself?

Have personal fears
threatened her career?

BY LOUIS POLLOCK

• Late one afternoon, several years ago, Anne
Baxter climbed miserably into bed in a Montreal
hotel. Her skin was covered with ugly red hives.
She was shivering. Already the star of some
twenty-five Hollywood movies, Anne was now tour-
ing the North American continent in a stage pres-
entation of “John Brown’s Body.” She was
scheduled for a performance the very next eve-
ning; it was no time to be ill. She telephoned the
company manager, who sent for a doctor.

When the doctor arrived, he took a seat beside
Anne, while she attempted to tell him what was

wrong. She began talking and seemed not able to
stop. He didn’t try to interrupt. It was clear he
sensed that the hives were symptomatic of a
serious state of emotional unrest and that a little
truth-telling might well be therapeutic. But as
the doctor listened, he realized that he was getting
not only an insight into the private life of an ac-
tress, but also hearing truths about Hollywood
and its way of life which are seldom if ever brought
to public attention.

“How can I go on before an audience tomor-
row night?” she appealed. ( Continued on page 92)

Alas,

Hes No Hero to His Cat

George Nader , who’s plagued at home by
smooching pups and yowling cats , sometimes
wishes he were the romantic fellow he plays

BY JOHN MAYNARD

• In southern California, it is the custom for enterprising real-
estate fellows to bulldoze shelves into the perpendicular hills,
slap houses and sometimes swimming pools onto the shelves,
build perpendicular driveways leading thereto, and then grab
for the nearest movie star. It is a highly successful business.

And on one of these shelves in a section called Sherman Oaks,
in a house whose architecture he characterizes as Early Nothing,
lives a man who would like to be George Nader.

It is a Walter Mitty-ish situation, since this man, despite the
evident advantages of being handsome, pleasant and solvent, is
by his own admission a long way from his goal. As most film-
goers are well aware, George Nader is a swashbuckling chap
who, on the screen, always says and ( Continued on page 100)

Escorting Dani Crayne to a
party, George Nader says:
“No studio alive could make
me date a girl I didn’t
like, just for publicity”

During happy years with Lauren,
Bogie became more domesticated

Lauren is facing a crisis in her
career as well as her personal life

Editor’s Note: For two years, Lauren Bacall Bogart
lived with the knowledge that her beloved husband was
ill with cancer, and that the chances were slim of his
emerging victorious from his battle with the disease.
Inherent in this girl’s valiant nature is the exhibition
of courage which has allowed her to build into her mar-
riage the happy memories which now must always re-
main memories only. This is Lauren’s story — the story
of her courage, her warmth, her ability to build a future
for the children who were so adored by Bogie. It is also
a reverent tribute to a wonderful man.
f

• Eleven years ago. not long after her marriage to
Humphrey Bogart. Lauren Bacall said, “I have always
wanted a husband, children, and a home of my own
more than I wanted a career. I made up my mind long
ago that they would always come first. In future years
there will probably be important choices, in terms of
family versus professional life, and I hope that I have
the wisdom to stand by what I have always believed.
It is so easy to lose one’s sense of balance.”

Lauren never lost her sense of balance, as many an-
other Hollywood wife has to her sorrow. Lauren had
the wisdom to live with balance — the wisdom and the
courage. True, she gave generously of her talents to
a career; the film industry has been enriched by these
talents. But Lauren gave (Continued on page 115)

This is the story of a woman

who met tragedy with strength and courage.
The woman is Lauren Bacall Bogart . . .
the tragedy is the death of her husband

L OYE

AND A

A tiny feminine fist, but it was powerful
enough to make Eddie punchdrunk and
Debbie starry-eyed • BY DIANE SCOTT

• Eddie Fisher came back down into the waiting room
of the hospital with the happy, dazed look of a man who
has been told — well, that he’s just become a father. In
one hand he was holding a card, in the other an unlit cigar.

A group of his friends were waiting for him, and when
he walked in they bombarded him with questions:

“Who does the baby look like?” “What does he weigh?”
and “How is Debbie?”

In the manner of a man who has just “had a baby,”

Eddie answered wearily, “It’s not a he. It’s a little girl and
she looks like me. And Debbie is just great.”

The baby came as a big surprise to her parents who
weren’t expecting her for at least two more weeks. As
Eddie said later, the stork was “jet propelled.”

Or, as many others commented, that bird just hovered
over the set during the filming of “Bundle of Joy” and
as soon as it was finished started flapping its wings.

Right after the picture the Fishers went to Palm Springs
to spend the weekend. Debbie had a cold and they’d
gone there for the hot desert sun. Her physician, Dr.

Charles Levy, had told her that the rest would do
her good and that he was planning ( Continued on page 108)

AND >1 ARRIAGE
VISA CARRIAGE

The Fishers’ own little bundle arrived
right after finishing “ Bundle of Joy ”

Eva Marie enjoys dinner with her
parents, Mr. and Mrs. John Saint, in
spite of her rugged life on screen

Enchanted Evenings, Please: Are
you as fed up with realistic drama and
the sweat-shirt school of acting as I
am? There are so many personal griefs
and major disasters in real life that
when I go to the movies I don’t want
to see the decadence of the deep South,
or the cravings of a dope addict, or the
sadistic cruelty of juvenile delinquents.
It isn’t that I want to close my eyes to
the very serious emotional problems of
today. I am fully aware of them. But
when I go to a film, I want to enter a
world of escape — where Cinderella is
dressed by Helen Rose, and Prince
Charming wears a white dinner jacket
and carries Cinderella off in his golden
Jaguar!

Unfortunately, some studios don’t feel
the way I do, judging by some of the
recent properties they have bought. For
example, 20th Century-Fox has assigned
Jerry Wald to produce the best-selling
novel “Peyton Place,” a highly censor-
able story about the goings-on in a
small town in New England. Darryl
Zanuck recently announced that he has

commissioned Meyer Levin to write the
screen adaptation of his best-seller
“Compulsion,” a harrowing true ac-
count of two degenerates, Leopold and
Loeb, who committed one of the most
revolting crimes in our generation. Just
in case we haven’t had enough exposure
to the dope problem in “The Man with
the Golden Arm,” Fox has also bought
“A Hatful of Rain,” in which Eva
Marie Saint will be the long-suffering
wife of a drug addict. Won’t someone
please buy “My Fair Lady,” quick?

Rig Role Lost: Memo to you young
people just getting a start in your ca-
reers: If ever yo\i are disappointed in
losing out on a role or a job, take heart
from Helen Hayes. The first lady of the
theatre, who returned to the screen to
co-star with Ingrid Bergman and Yul
Brynner in “Anastasia,” read the script
of Eugene O’Neill’s autobiographical
play. “Long Day’s Journey Into Night.”

Ingrid Bergman, good mother to twins
Ingrid and Isabelle and young Roberto
Rossellini, is winning back fans and fame

More than any part since “Victoria Re-
gina,” the tragic role of the play-
wright’s mother appealed to Helen. But
when the producers signed Fredric
March to play the elder O’Neill, Helen
knew that she didn’t stand a chance,
because Fred would understandably
want his own wife, Florence Eldridge,

Visiting director Richard Sale on “Seven
Waves Away” set, Helen Hayes looks back
on many roles she played, one she missed

to star opposite him. So Helen not only
lost out on this plum role, but she also
missed the thrill of playing in her own
theatre. Ironically enough, “Long Day’s
Journey Into Night” opened at the
Helen Hayes!

March of Time: Ingrid Bergman in
“Anastasia,” Burgess Meredith in “Ma-
jor Barbara” and Elia Kazan, director
of “Baby Doll,” all have their names in
lights on Broadway within a radius of
a few blocks from each other. Sixteen
years ago, this trio appeared together in
Vinton Freedley’s revival of “Liliom.”
It was Ingrid’s Broadway debut, but she
didn’t get star billing. Neither did
Meredith, but he did get a fatter pay
check than Ingrid. Kazan, who played
a supporting role, drew the large sum
of $150 a week! The play ran fifty-six
performances. . . . Certainly a lot of

Disappointment for Helen Hayes , victory for Ingrid Bergman , happiness for
Kirk Douglas , love for Henry Fonda. It’s all here! • BY RADIE HARRIS

water dows under the bridge in the
march of time. Turn back the clock
just a year or so to Christmas of 1955,
when Linda Christian and Edmund Pur-
dom had already broken up two homes
because of their love for each other. At
Christmas, 1956, Edmund couldn’t even
send Linda a word of greeting because
he had no idea where she was. As it
happened, she was in St. Moritz, look-
ing for a millionaire to support her in
the style to which she has grown ac-
customed, thanks to Tyrone Power —
and which Edmund could never afford.
... It was also in 1956 that Zsa Zsa
Gabor announced she would marry Hal
Hayes; that Kim Novak was supposed
to change her name to Kim Krim; and
that Lisa Ferraday and Brod Crawford’s
romance made every Cupid’s column. I

Yul Brynner and wife Virginia Gilmore told
everyone in Hollywood , including Anita
Louise and Buddy Adler, of his Paris trip

don’t think that anyone was really too
surprised — do you? — that these duets
no longer are “woosome twosomes.”

Author, Author! : My European cor-
respondent reports that French critics
were cautious, but quite kind, about
Jean Pierre Aumont’s play, “The Very
Happy Angel,” which he authored on
the French Riviera. The plot’s about a

Continued

Proving what a good and loyal vjife she is, Veronique Peck smiles as Greg impo-
litely reads at a nightclub table. He’s just checking the reviews on a new film

man who awakens after having slept for
thirty-eight years. After a tour of the
provinces, it opened in Paris just about
the time Aumont and Marisa Pavan ar-
rived from Hollywood. Marisa and Jean
Pierre are installed in his Malmaison
villa, “Rochers” (where Grace Kelly
spent many days during her long-ago
idyll with Aumont ) , with Marisa knit-
ting clothes for her expectant baby and
Jean Pierre appearing on the French
stage in Jean Giraudoux’ “Amphitryon
38.” His own play holds forth a few
blocks away. . . . Yul Brynner was in
absolute ecstasy during the few weeks
he spent in Paris, a city he knows and
loves, as he lived there during his youth.
Yul admits that it was like coming home
again. Yul went to see the Anatole Lit-
vaks, with whom he spent most of his
time. Since they have only a tiny apart-
ment. Yul stayed at the exclusive Saint
Regis Hotel, known only to Paris regu-
lars. Yul attracted a lot of attention in
Paris by his bald head, but he is un-
known in France — “The King and F’
not having been released at the time of
his visit. Yul revisited the night club he
used to manage, looked up old friends
and haunted the picturesque little “bis-
tros” that only Paris regulars know.

Ingrid Victorious: Ingrid Bergman
has finished knitting the dark gray *
sweater she is making for husband Ro-
berto; it was done entirely on stage in
“Tea and Sympathy.” In the play she

Judy Garland doesn't like diamonds , Radie
says, but she obviously likes the jokes of
old friend Bing Crosby at the Stork Club

By a quirk of fate, Kirk Douglas found his great “Lust for Life ” role after it had
gathered dust jor years. Lucky man. he found happiness with Anne only recently, too

has a five-minute scene when she has to
knit while Tom sings. Ingrid had said at
the play’s opening, “Oh. if it only lasts
long enough for me to finish the sweat-
er.” Ingrid is looking around Paris for
an apartment to buy, as she and Ros-
sellini would like to live six months of
the year in Paris, dividing their time
between the French capital and Rome.
Ingrid’s love for the city (she appreci-
ates especially the freedom of movement
she has here — she can stroll around
without anyone bothering her) is re-
turned by the French. Next to Lollo-
brigida, she is their favorite foreign

actress. Ingrid has never been known to
refuse a request for a charity appear-
ance since her arrival in Paris. For an
appearance at a charity gala for unem-
ployed actors, she had to learn all about
magic, as she had to put on a magic act.
She prepared herself thoroughly for it
by taking lessons from French magician
Jean Weber. Ingrid further endeared
herself to the French by putting her
tremendous Italian car in the garage
and using a tiny-horsepower French
utilitarian car during these days of the
gas shortage. As Hollywood’s Oscar
time approached a friend of hers said to

One thing Swedish beauty Mai Zetterling
has done for Ty Power is get him out-
doors, skiing and sledding in her land

her, “If you should get the Oscar, what
a beautiful revenge you’d have.” “Re-
venge?” asked Ingrid, absolutely aston-
ished. “One seeks revenge after a de-
feat. I’ve had no defeats; I have won.”
And Ingrid listed her victories: her
husband, her adorable children, “Ana-
stasia” and “Tea and Sympathy.” Also
it could be added that she doesn’t know
the meaning of the word “revenge.”

Purely Personal: Douglas and Mary
Lee Fairbanks’ two youngest daughters,
Victoria and Melinda, never knew that
their father was once married to Joan
Crawford until they read about it in a
fan magazine. . . . Lauren Bacall has
earned the admiration and respect of
everyone in Hollywood by her amazing
courage in never letting Bogie know that
she was going through a thousand
deaths herself, watching him suffer dur-
ing his protracted and painful illness.
. . . Raymond Massey is writing his
autobiography, with no help from any
ghost writer. L love the title: “Char-
coaled on the Outside.” ... I know it’s
supposed to be the kiss of death to call
any pair an “ideal married couple,” but
I’m going out on a limb because I sin-
cerely believe that Veronique Passani
and Greg Peck will prove the exception,
for one very simple reason: Veronique

isn’t competing with Greg in any area
of his career. All she wants to be is his
wife, mother to their son Anthony, and
stepmother to Greg’s three growing boys
— and she’s doing a wonderful job in
every department. . . . My personal
nomination for the girl most likely to
succeed in Hollywood this year: Kay
Kendall, the British star who will make
her American film debut in “Les Girls”
for M-G-M. . . . Judy Garland doesn’t
like diamonds, but she was thrilled when
Sid Luft gifted her with a diamond
bracelet because it was such a beautiful
design and so simple — if diamonds can
ever be simple! Incidentally, Judy con-
fides that she has her heart set on play-
ing Laurette Taylor in Margaret Tay-
lor’s biography of her famous stage
mother. And she also is dying to do a
Broadway musical. . . . Leslie Caron and
Pat Neal will both have their babies in
London. Pat, now married to author
Roald Dahl, is hoping for a baby
brother for two-year-old Olivia. Leslie,
whose second groom is Peter Hall, bril-
liant young English stage director, is
expecting her first in May. Recently she

Henry Fonda is about to take his fourth
wife, Baroness Afdera Franehetti. He
met her on set of “War and Peace”

hopped over to Paris from London to
see her family, buy antiques and stock
up maternity clothes at Givenchy’s. . . .
Wonder if Mike Wilding, after the
front-page publicity he has received in
connection with Monty Clift’s auto
smash-up, Liz Taylor’s separation and
the Marie McDonald “Body” snatching,
doesn’t long for the days when he was
married to Kay Young. And when the
only publicity he received was as Eng-
land’s top box-office screen hero.

IjouM

Continued

Written in the Stars: I was having
late after-theatre supper with Anne and
Kirk Douglas at the Little Club, and
we were discussing Kirk’s chances of
winning the Academy Award for his
“best performance of the year” in “Lust
for Life.” “I’m not pinning my hopes
too high,” Kirk told me. “I did that
once before with ‘Detective Story.’ I
thought I had given my best screen per-

MM was a sight to see in her black me-
tallic sheath at the “Baby Doll” party in
New York , with husband Arthur Miller

formance to date, and everyone said I
was a cinch to be included in the Oscar
sweepstakes. So what happened? I
didn’t even get a nomination!” A week
following this conversation. Kirk not
only was nominated but won the New
York Film Critics’ Award for his superb
characterization of Vincent Van Gogh.
Now the suspense is mounting high,
awaiting the (Continued on page 110)

Cliff Robertson, telling Radie about
his camera hobby, also had a bone to
pick with Photoplay’s Cal York column

Fortunately, when Monty hit a tree with his car it was not on the driver's side

Monty’s Brush with Death

From what was almost the end we go back
to the beginning: a conservative family , a love-starved childhood ,
years of struggle and work

What has gone BEFORE: In the March issue Part I of
the life story of Montgomery Clift began. A tense, con-
fused young man, Monty is nonetheless one of the most
vibrant and talented actors in Hollywood. His present
troubles tend to obscure his basic warmth and decency.
PHOTOPLAY now brings you the second part of the story.

• On the night of last May 13, 1956, Elizabeth Tay-
lor and her husband, Michael Wilding, gave a party
for a small group of friends at their home in Benedict

• BY RICHARD GEHMATS

Canyon, West Los Angeles. Those present were Kevin
McCarthy, Rock Hudson and his wife, and Montgom-
ery Clift.

It was an evening full of tension. The Wildings
were then on the verge of breaking up their marriage,
and Clift seemed disturbed at this prospect. He also
was severely fatigued. At the time, Monty was in the
process of shooting “Raintree County,” and, as usual,
he was hurling himself into his work relentlessly, spar-
ing neither himself nor his ( Continued on page 84)

Across two continents , one

of the most beautiful women
in the world pursues her

last illusion . . . happiness

Flamencos with matador Chamanco help Ava fight boredom

Gardner's
Dry Tears

BY RUTH WATERBZJRY

0 Ava Gardner, who claims she prefers everything Spanish to
anything American, sat in the darkest corner of the bar of the
Castellana-Hilton Hotel in Madrid. The Hilton bar is about as
Spanish as the airport at Kansas City, Missouri.

It was eight o’clock and pouring rain outside. I had received
a message to meet Ava at the Hilton only fifteen minutes before.

That’s Ava. I had been in Madrid for three solid weeks and
she knew it. A year ago, in London, Ava had given me the only
personal story she’s granted anyone in two years. When I planned
to take a trip to Spain I wrote her from Hollywood just where
I’d be, and when, and said if she wanted to talk again I’d be
happy to listen. She didn’t answer.

When I arrived in Madrid I sent a note around to her. You
can’t telephone her for the extremely simple reason that she has
no phone. You can’t “drop in” on her because, while every taxi
driver in Madrid knows where she lives, she knows every one
of them, as well, and she ducks when she sees one coming. You
can’t mail a note to her house, either, (Continued on page 112)

Director Mark Robson of “The
Little Hut” found working
with Ava as exciting as ever

Italian comedian W alter Chiari
has been tagged as the man
most likely to succeed Sinatra

iwJFJmlSw

wi'I'lL

The Might of
the Distant Voices

0 The fans are the unseen power in Hollywood. A few of their
faces are glimpsed at the premieres, some of their voices are
heard rising along the routes of the personal-appearance tours.
But for the most part Hollywood feels the vast unmeasured
power of the nation’s and the world’s moviegoers only indi-
rectly— at the box office, by their votes in such polls as Photo-
play’s Gold Medal Awards, and by the mail they send in. The
mail is the greatest of these, a babble of silently clamoring
voices, a fierce flood that pours into the movie capital, to the
- studios, to the stars themselves and to the fan magazines. The
mail can make an unknown into a success or can set a cinema
king toppling on his throne. The demands of the fans and the
fan clubs, written on thousands of post cards and tons of writing
paper, can keep a Tab Hunter in the limelight when his em-
ployers are ready to forget him, can breathe months and years
of life into the career of a person who has died, as it did for
James Dean, Jean Harlow, Rudolph Valentino. As the fans
insist on it in their letters, parts are awarded, shaky marriages
are patched up and screen stories are rewritten. To the in-
dividual fan who writes one letter a year and sees no results
this may seem an exaggeration; no one seems to pay any at-
tention to the plaintive requests of one fan, or a small group. And
yet, very often, someone does. For instance, a group of fans
in St. Louis, Missouri, write in a group “demand” for the
appearance of a young actor named Jacques Sernas in the pages
of a magazine like Photoplay— and what happens? The wheels
of a great magazine start turning, the Hollywood office is alerted,
a photographer goes out to the home of the handsome young
Frenchman and the pictures are taken. A month or two after
the “demand” was written Jacques appears in the magazine.

JACQUES SERNAS IS IN WARNER BROTHERS’ TV PRODUCTIONS

' r-

[ j.

1 /

1. f

i f

Pier, who nearly lost little Perry,
now says joyously, “'God wanted us
to keep our baby and we kept him”

Laughter

Chases

the

Blues

v utltM

Sometimes , when the heart is rent by tragedy , a baby’s laughter makes it
sing again. It was this way for Pier Angeli • BY PAULINE TOWNSEND

• It has been written that sorrow shared
is the anvil upon which great loves are forged.

There is heart-wringing proof of this
in the love story of Pier Angeli and Vic
Damone. In their brief two and a half years
of marriage (they were married Novem-
ber 24, 1954) these two young stars have
faced more problems — some of them near
tragedies — than many others meet in a
decade. And with every challenge they have
grown more deeply in love. Just seeing
them together, or with their adorable year-
and-a-half-old son Perry, is enough to con-
vince any skeptic.

The first, and worst, of the newly married
Damones’ trials was the freak plane accident
in which Pier ( Continued on page 104)

Though their work often keeps them apart, Vic and Pier
find that absence only makes their hearts grow fonder

A DATE WITH SAL

Here's how the pert miss who won Photoplay’s Sal Mineo Contest spent

Sal had fun looking at Nancy's kid “He's here , he's here'' Nancy yelled, Sal and Nancy had to go for a drive

pictures. “ You sure have changed ” asked Sal to speak to her friend to have some time alone together

In the lobby of the theatre Sal intro-
duced Nancy over the air to his fans

“That girl is sure sharp ” Sal At Boys Club dance Sal found Nancy

said of Nancy’s bowling skill to be just the “mostest” as a partner

• When sixteen-year-old Nancy Donaldson of Pontiac, Michigan, learned
she was going to have a date with Sal Mineo she didn’t believe it was true.
Even now when it’s all over she wonders if it wasn’t just a dream. But,
like Sal, it was for real — a whole long day of fun — starting off with
introducing Sal to the folks, kidding around the house, bowling, having
Cokes and meeting the gang, and then to top it all off being personally
escorted by Sal to the opening of his latest picture, “Rock, Pretty Baby.”

the dreamiest day of her life

“What will be, will be” was Doris Day’s philosophy until one fateful event
changed her life • BY GEORGE SCULLIN

• This April, when Doris Day and Martin Melcher cele-
brate their sixth wedding anniversary, one of their brain
children will be very much present to enhance the festivi-
ties. This, of course, will be “Julie,” the highly successful
suspense drama they made together, with Marty as the
producer and Doris as the star. But for all that the film
will arrive bearing gifts totaling a million dollars, the
happy husband-wife team of Melcher and Day are not
planning any immediate sisters or brothers for “Julie.”

“We want more wedding anniversaries,” says Marty
with finality. “Not business partnership anniversaries.”

“No more ‘Julies,’ ” pleads Doris.

And right there you have the key to Doris Day’s happi-
ness, a happiness that had escaped her for a long, long
time. Not for a dozen “Julies” offering her a dozen mil-
lion dollars will she let anything interfere with her mar-
riage. And what makes her stand a little different from
most is that she has already turned down the millions.
Behind it all is an incredible story, and behind the story
is an even more incredible girl.

Doris Day is one of the most written about and least
known of all the big stars in Hollywood. As a box-office
attraction she is the leading female actress of the decade.
In drama alone “Julie” established a record during its
first week in New York. When she sings in a picture, the
sale of her recordings from the movie will alone make
more money than most of the competing films. When she
dances in a picture, she breaks all previous records. And

Continued

Doris is besieged by fans everywhere
she goes. On a recent visit home to
Cincinnati', the police cleared a path

Author George Scullin heard her story:

“Things just happened. Like the song,
que sera, sera, I had to follow along ”

ESCAPE TO HAPPINESS

Continued

when she uses her triple-threat talents to sing, dance,
and play the dramatic lead — as she will in “Pajama
Game” — movie houses light up their brightest all over
the world.

In the face of all this, Doris Day has succeeded in
establishing herself with newspaper and magazine
writers as the friendly, smiling, healthy, all-American
girl from right next door. It makes a fine, satisfactory
picture of Doris, and you can recognize her in it; but
it has no more detail than a silhouette snipped out of
black paper. If Doris weren’t more complicated than
that, she’d be the all-American girl from next door, all
right, but she’d still be living there.

The explanation favored by many movie moguls be-
wildered by both Miss Day’s quiet modesty and her
shattering impact on the moviegoing public is that
there are two Doris Days. They substantiate this re-
markable theory by pointing out that Doris is shy and
self-conscious in the presence of other movie stars.
She’s like a girl just freshly arrived from some place
like Cincinnati, Ohio, which, it so happens, is where
she comes from. But when this girl gets in front of
the cameras a dynamic transition takes place. “Then
she’s the star,” says one producer in an awed voice,
“and I mean she’s the greatest.”

There may be some merit in this dual personality
theory, but it is much too simple. For years Photo-
play has been following the progress of Doris Day

Through her bright laughter and

the star and Doris Day the person. It awarded to the
star its coveted Photoplay Gold Medal Award as long
ago as 1952. It assigned some of the best Hollywood
reporters to uncover the hidden facets of the person.
The stories, some thirty of them devoted to her alone,
plus countless references, anecdotes, and photographs
in features and columns, provide the most accurate
picture of her life to be found anywhere. Recently the
editors decided to add them all up to produce a full-
length portrait. They enlisted the cooperation of Miss
Day in sitting for the additional touches that would
be necessary to round out a few details.

Thus, one recent day when New York was pretend-
ing to enjoy a chilling but meager snowfall, it was my

Doris the star and Doris the warm, friendly person are one as she sings to hospitalized kids in Cincinnati

sunny disposition Doris spreads happiness wherever she goes

great good fortune to he sitting with Doris Day on the
sun-drenched terrace of the Beverly Hills Tennis Club.
She was avidly licking a giant-size ice cream cone be-
fore it could drip on her freshly creased white tennis
shorts. Beside her loomed her tall young son Terry,
similarly engaged. Though the resemblance between
mother and son is striking in photographs, in real life
it is uncanny. From their dripping ice cream cones to
the last one of their multitude of freckles, Doris Day
and fifteen-year-old Terry were the licking images of
each other, and handsome, too. ( Continued on page 105)

Out of a troubled and confusing youth Doris found happi-
ness with her husband, movie producer Marty Melcher

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LIVING WTH

YOUNG IDEAS

PHOTOPLAY STAR FASHIONS

To buy rainwear , see information, pace 81

Elegance you won't
save for a rainy day:
Kathryn Grant's coat
is jewel-toned silk
taffeta, with push-
up sleeves, a soft
draped hood. White
taffeta-lined ; 8-16.
About S55. Print
umbrella , under
$20. Both by
Lawrence of London

IT'S RAINING FASHION !

IT’S RAINING
FASHION !

White cotton knit takes to the rain
in Kathy Grant's coat. It zips to
a crew neck, has bright chevron
stripes, front and back. By John
Derro for Main Street. About $40

Don’t let down your fashion guard
when the weather s ivet
and gloomy. Photoplay’s April
shoiver coats keep you star bright
. . . even when it pours

YOU SAW SHIRLEY JONES STARRING IN

“Oklahoma!” and 20th’s “carous

Classic favorite: Shirley Jones’
slicker is styled in vinyl plastic.
Yellow, of course , also blue or
white. S.M.L. About $6. Sou’west-
er, $2. Red Ball Weather proof ers

Left : The Ready Rainboot

See-through plastic rainboot, a
“ must-have ” with slip-proof sole,
easy side fastener. Low, medium,
high heels. Rain Dears. About $2.
Shirley’s coat in deep pink poplin
with a fruit-print chintz lining,
umbrella. By Milner. About $25

Right, pansies bloom on a field of
white in Shirley’s coat, match-
ing bonnet. Ever fast cotton, taf-
feta-lined: 8-16. $35. Rain sack,
umbrella, $15. By Town Creations

To bur rain fashions, see. information and stores listed on pope v 1

YOUNG IDEAS:

KATHRYN GRANT STARS IN COLUMBIANS
“THE GUNS OF FORT PETTICOAT," SOON
IN “THE BROTHERS RICO,, AND “THE
NIGHT THE WORLD EXPLODED”

STAR FASHIONS

Gray Celaperm shantung splashed
with white dots, cape-collared
in white pique. Added: a white
pique pillbox. Sizes 8-18. By
Sherbrooke. About $23

Kathy stars a coat in real canvas,
buttoned in brass, tabbed at pock-
ets and cuffs. Bonus, its own
beret. Natural only. Junior sizes
5-15. By Sherbrooke. About $18

1957 news: the cape, flowing here
from a cuff encircling its yoke.
Separate matching hood. Bright
touch, a madras plaid lining, um-
brella. S,M,L. Milner. Under $35

PHOTOGRAPHS BY BERT AND STAN ROCKFIEI.D

YOUNG IDEAS:

PHOTOPLAY STAR FASHIONS

BLOUSE TREATS

Delectable new toppings selected by Virginia Gibson,
young star of Paramount’ s film about fashion, “Funny Face”

\1R(,IN1a"s CURRENTLY FEATURED IN THE BROADWAY HIT, "HAPPY HUNTINt"

top row : Lace-ruffled shirt in striped
Dacron and cotton that dries wrinkle-
free. Red, black, navy on white; 10-
18. A Dotti Original. About $6.50

Blouse with a very delicate air: sheer
white cotton batiste, scallop-edged and
appliqued with crisp white pique.
Sizes 30-38. Opera Blouse. About $6

The Ivy League shirt with button-
doivn collar, new cuffed sleeve. White
cotton with muted regimental satin
stripes; 28-38. Ship ’n Shore. $ 3.98

bottom row: Summer favorite, em-
broidered eyelet, shaping a ruffle-
front blouse in easy drip-dry cotton.
White, pink, 10-18. Dotti. Under $8

Gay spring posies rampant on a field
of white cotton broadcloth. This
round-collared shirt, neat and crisply
tailored; 28-40. New Era. About $3

Perfect suit blouse: spanking white
bird’s-eye pique sparked by two
crossed tabs, a fly-front closing. Sizes
28-38. By Ship ’n Shore. About $3.50

To buy blouses , see information , stores listed on page

Questions

HOW

to be a “designing woman”

The Ten Most
Important Fashion

As a designer I am often asked for
fashion pointers. My most important ad-
vice has been to pay strict attention to
details. Before she leaves her boudoir,
a girl should be able to answer yes to
the following questions.

1. ARE YOU NEAT? Untidy hair, loose stockings,
or run-down shoes make even the most
expensive clothes lose their glamour.

. ARE YOU SPOTLESSLY CLEAN? Your person
and your clothes should be fresh and
immaculate.

3. ARE YOU DRESSED SIMPLY? Good taste de-
mands simplicity, which can be sparked
with gay accessories. Avoid complicated,
gaudy styles.

Helen Rose designs for Dolores Gray

4. DO YOUR CLOTHES FIT PERFECTLY? No

dress should be baggy or skintight. In-
vest in good alterations and well-fitting
undergarments.

Creating fashions for the stars is a job
a girl dreams about! • BY HELEN ROSE

• I work hard at being a designing woman but I love it.
I work with colors, sketches, fabrics and ideas. I also
work with people. I may stay long hours into the evening
when the result I am trying for just doesn’t “come.” But
when it does — when I’ve created a mood or a flattering
effect — there is the great joy of accomplishment that
nothing can equal.

Some of the best fun I’ve had in my career has been
with M-G-M’s “Designing Woman.” I not only helped
with the story idea (I was a natural for that job!) but I
really let myself go in thinking up costumes for Lauren
Bacall and Dolores Gray. There is, of course, a limit to
what a designer is permitted to do on any production —
most obviously in terms of time ( Continued on page 81)

5. ARE YOUR CLOTHES WELL COORDINATED?

Your ensemble — dress, shoes, bag, hat
and gloves - should blend, not neces-
sarily match, in color and style.

6. ARE YOU DRESSED APPROPRIATELY FOR

THE OCCASION? I prefer the neat, cov-
ered look by day and the moderately
uncovered look by night.

7. ARE YOU WEARING THE RIGHT JEWELRY?

Go easy on it or you’ll look like a Christ-,
mas tree. Stay tailored by day with pearl
or golden jewelry. You can glitter at night.

8. WILL YOUR DRESS HOLD ITS FRESH LOOK?

For common wear, choose dresses of
wrinkleproof fabrics— no limping linens.

9. IS YOUR FIGURE AS GOOD AS IT SHOULD

BE? No girl with a sloppy, untrim figure
can look well-groomed. Exercise often,
and cut down on the calories.

10. DO YOU LOOK FEMININE? Avoid over-
severe styles. You are a woman, and your
clothes should enhance that role.

HELEN ROSE

j‘ *

Coordinated
y embossed bag!

Hermine Cantor

(fashion editor of PHOTOPLAY) ^ '

Pier Angeli

Pier Angeli ‘

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The Vintage”

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How to be a "designing woman" Continued, from page 77

and money. But there are other limits.
Much as I may like a particular style or
color for a particular star, I always bear in
mind that my creation must blend with
the spirit of the film. There’s a greater need
for discipline, sometimes, than inspiration.

Being a successful clothes designer,
however, is more than sitting at a desk
with a pencil, a paper, a bolt of cloth and
a waste basket. There are the very im-
portant consultations with the stars them-
selves. I want to know their ideas and
preferences — not just to please them with
a made-to-order wardrobe, but because,
when I design, I consider the film as a
whole. For example, if the leading lady
has a violent personal objection to V-
necklines, I take pains to avoid V-neck -
iines. Otherwise the star will feel unat-
tractive in the scene and will not do her
best.

A situation of this sort occurred with
Dolores Gray. Dolores plays a chic Broad-
way star in “Designing Woman,” and
wears clothes beautifully. So for a partic-
ular shot, I decided to create a dramatic
orange-red lounging robe. Then I spoke
! with Dolores. She hates orange-red. Out
j it went. My lounging robe turned up in
hydrangea blue, and Dolores was much
happier. So was I, because the scene
turned out extremely well.

All of Dolores’ clothes in the picture
were pleasant to work on, mostly because
she dressed to the hilt in every scene. I
tried for a certain theatrical dash— and
achieved it, I think, in striking colors, in-
teresting ensembles, exciting hats, furs
and jewelry. And, since Dolores has a
small waist, I was careful to accentuate
this in every part of her wardrobe.

In designing Lauren Bacall’s styles, I
again kept personal preferences in mind.
[ know that she is partial to violet, so I
used this color as much as possible. Lauren
wears a silk violet hostess gown, violet
pajamas and a violet hat. Because she
looks so well in soft beige and sand tones,
[ also used these colors, spiced with black,
in several ensembles.

It is wonderful to work with Lauren.
She has a remarkable flair for clothes,
perhaps because she was once a profes-
sional model and knows how to show
them off to advantage.

I took extra-special pleasure with Lau-
j ren’s wardrobe because her role per-
mitted me to design a full range of styles
from casual sportswear to sophisticated
evening gowns. I am happy to say that

they are fashions which the average girl
can adapt for her own wear. There was,
for example, a business suit required in
one of the scenes. I worked out an idea
in black broadcloth with an old-fashioned
jerkin top and buttons down the back.
For a casual sport dress, I designed a
simple, off-white silk shirtmaker number,
and gave it long sleeves buttoned with
sapphire cuff links. It was my favorite
creation for Lauren in this picture,
particularly when she wore it with
the accessories — white linen shoes and a
large pale blue handbag. I was proud of
the blend of colors here, the whites, the
blues, and the tawny shade of Lauren’s
hair, which was worn long and loosely
brushed.

As an added touch of excitement to my
“Designing Woman” assignment, Photo-
play chose four of the costumes I created
for the film as the subjects for its big “Win
a Trip to Hollywood” contest. I understand
that four lucky girls who name the cos-
tumes most appropriately will be given an
all-expenses-paid trip to Hollywood via
American Airlines and a chance to live
like a movie star for five days. What fun
for them!

To reach the point where one can actu-
ally become a “designing woman” for mo-
tion pictures takes a long period of ap-
prenticeship. I have fitted, pressed, sewed,
sketched, modeled and sold dresses as part
of that apprenticeship. Some designers
have skipped the preliminary stages. In
my opinion, however, they have not gained
thereby. Well-rounded experience in the
garment field, it seems to me, is desirable
training.

General education is also a great help.
To the girl who asks me whether to go
to art school or college, I would first ad-
vise college — with a healthy amount of
fine arts and art history studies. I would
also suggest learning to sew and fit in a
home economics course. Then there is
the study of drama; a really good de-
signer must have a dramatic flair.

With all this, I will not say that the
way is necessarily easy. There is a great
deal of competition and a great deal more
to learn, not only about the tools of the
designer’s trade, but about getting along
with people. There may be years of
struggle. But success, when it comes, is
rewarding. It is well worth it. The End

SEE: Lauren Bacall and Dolores Gray in M-G-M's
"Designing Woman,"

You Can't Afford to Miss

PHOTOPLAY'S May Travel Issue

• Details of an exciting "Win a Trip to Hollywood" Contest

j • How to travel like a "Designing Woman" — where to go in
California, what to do and see, how much it will cost

• A wardrobe of travel fashions designed for you, inspired

1 by M-G-M's "Designing Woman"

Get May PHOTOPLAY April 4

WHERE TO BUY
PHOTOPLAY
STAR FASHIONS

To buy fashions shown on pages 73-76, write
manufacturer or nearest store listed below, men
tioning Photoplay, and enclosing a clipping of
the item you wish to order.

Lawrence of London raincoat

LOS anceles, calif. — J. W. Robinson ( coat only)
new York, N.Y. — Bonwit Teller

Main Street raincoat

Indianapolis, IND. — fm. H. Block
or write, Main Street Fashions,

500 Seventh Avenue, New York 18, N.Y.

Red Ball Weather proof ers
slicker

louisville, ky. — Zellner’s, Inc.

new YORK, n.y. — Life Rainwear Co., Inc.

reading, pa. — Pomeroy’s

Milner raincape and coal

Brooklyn, n.y. — Martin’s
or write, Milner Rainwear Co.,

512 Seventh Avenue, New York 18, N.Y,

Town Creations raincoat

At Saks Fifth Avenue stores in

CHICAGO, ILL.

DETROIT, MICH.

NEW YORK, N.Y.

PHILADELPHIA, PA.

PITTSBURGH, PA.

ST. LOUIS, MO.

SAN FRANCISCO, CALIF.

WHITE PLAINS, N.Y.

and all other Saks Fifth Avenue store*

Sherbrooke canvas raincoat

BALTIMORE, MD. — Hutzler’s
new YORK, n.y. — Macy’s
paterson, n.j. — Meyer Brothers
PHILADELPHIA, PA. — C. A. Rowell

Sherbrooke dotted raincoat

new YORK, n.y. — Macy’s
paterson, n.j.- — Meyer Brothers
ST. PAUI,, MINN. — The Emporium
Zanesville, OHIO — The H. Weber Sons Si Co

Dotti Original striped Moose

BALTIMORE, MD. — Hutzler’s

CINCINNATI, OHIO Shillito’s

columbus, OHIO — F. & R. Lazarus
Newark, N.j. — L. Bamberger & C®.
new York, n.y. — Franklin Simon

Opera batiste blouse

Brooklyn, n.y. — Abraham & Straus
LOS ANGELES, CALIF. — Silverwoods

Ship ’n Shore striped shirt

Miami, fla. — Burdine’s
or write. Ship ’n Shore, Inc.,

1350 Broadway, New York 18, N.Y.

Dotti Original eyelet Mouse

Baltimore, MD. — Hutzler’s
CINCINNATI, OHIO — Shillito’s
columbus, ohio — F. & R. Lazarus
Newark, n.j. — L. Bamberger & C®.
new York, n.y. — Franklin Simon

New Era print Mouse

CLEVELAND, OHIO — The May Co.
or write. New Era Shirt Co.,

901 Lucas Avenue, St. Louis 1, Mo.

Ship *n Shore pique Mouse ^

Atlanta, GA. — Rich’s, Inc.

Miami, fla.— Burdine’s
NEW HAVEN. CONN. — Mallev’s

Ben Cooper, U.S.A.

It was a long goodbye , but eventually Uncle Sam got himself a new soldier

Fooled twice, civilian Ben Cooper woke up
wondering if he’d be a soldier by that night

A week after his first try, Ben again dusted
off his bags, got his clothes ready once more

Lori Nelson first said goodbye on Christmas,
gallantly came around to say goodbye again

It was New Year’s when Ben said his farewell
— this one to stick — to his kindly landlady

• Last Christmas was the most peculiar day Ben
Cooper had ever spent. He was about to be tested for
the most important assignment of his career, yet all *

day long and everywhere he went his friends kept say-
ing, “I hope you fail your test.”

Ben Cooper had just received “greetings” from
Uncle Sam.

Lori Nelson’s eyes misted up when he dropped by
her house with a Christmas gift. She managed only
a weak smile at his elaborate military salute. It was
the same way with all of ( Continued on page 114)

At last, the solemn moment. With raised
hand, actor Cooper became Private Cooper

His first Army task was to listen to a lecture
on what IJncle Sam expects of him as soldier

Left, Ben pauses on his slow course into the
Army to take a last look back at civilian life

( Continued jrom page 59)
associates, continually demanding extra
effort in every scene.

Throughout most of the evening he sat
alone, as though brooding over some ex-
cruciating inner dilemma. He was not
drunk, as has been reported. The fact is,
Clift is not a drinker; one or two high-
balls intoxicate him almost immediately.
Around midnight he decided to leave.
Neighbors later reported hearing loud,
angry voices at that time, but upon being
questioned closely, they said that the
voices might have been more “excited’’
than irate.

Clift had said he would follow Kevin
McCarthy’s car down to the point where
Benedict Canyon spills into Sunset Boule-
vard. That was reassuring to everyone
present. Clift’s friends were worried about
him; most of his friends are continually
worried about him. He seems to have
well-defined tendencies toward self-
destruction.

The two cars departed. A few minutes
later there was a shattering, ear-splitting
crash, and immediately afterward Mc-
Carthy reappeared at the Wildings’ house.
He said that Clift’s car had had a terrible
accident. He rushed to the telephone to
call for assistance. Miss Taylor suddenly
screamed, “Monty! Monty!” and started to
run outside. The others tried to hold her
back, but she was not to be held.

Clift had missed a turn. His car had
smashed into a roadside tree. It was a
mass . of twisted wreckage, ready for the
junk heap.

Dr. Rex Kennamer, a doctor regarded
highly in the West Los Angeles area, ar-
rived in a short time. He found Clift still
in the front seat, bleeding profusely from
cuts on the face. Miss Taylor was holding
his head in her lap, making comforting
sounds between sobs. Dr. Kennamer later
declared that it was a miracle the actor had
survived his crash.

“We were sure he was dead,” McCarthy
later reported to a young actress friend,
Barbara Gould. “We couldn’t understand
how a man could bleed so much and still
live. There were even pools of blood on
the road.”

Clift suffered a brain concussion, severe
cuts of the face, a fractured jaw and a
badly broken nose. For a time it was
feared that his face would never be
sufficiently mended for him to be a movie
star again.

As they were taking him out of the car,
Clift came partially back to consciousness.
His eyelids fluttered and he began to
mumble. His words were later reported
by one of the men who helped extricate
him from the wreckage. They were in-
distinguishable at first, but then one
phrase became audible:

“If only I’d been able to do it. If only
I could have done it . . .”

Then he lapsed into unconsciousness and
they took him off to the hospital. What he
meant he could not — or would not — later
explain. Montgomery Clift has a de-
terminedly reticent nature and an appar-
ent unwillingness to evaluate himself in
realistic terms. Perhaps he was reluctant
to face the possibility that he wanted to
harm himself severely.

Clift at that time was a disturbed human
being. Many of his friends were saying,
“Monty is his own worst enemy. He seems
to loathe himself.” Other events that
happened after his recovery, when he had
gone back to work on “Raintree,” seemed
to bear out those statements.

As shooting progressed, Clift’s awkward,
graceless movements seemed to make him
easy prey for accidents. “Monty is the
worst-coordinated man I’ve ever seen,”

Monty's Brush with Death

said Millard Kauffman, writer of the
“Raintree” script.

Apparently this was right. One morning
in Natchez, Mississippi, Clift started run-
ning for the limousine that was to carry
him t« the “Raintree” location set. At the
same time, a young girl ran up to ask him
for his autograph. Clift slammed into her
and knocked her down. The girl suffered
a sprained ankle. Later, on the set, Monty
tripped over a rock and fell flat on the
ground, sustaining a slight cut over his left
eye. In Danville, Kentucky, he stumbled
again and broke his toe.

The latter accident was only one of
many delays in the shooting of the picture.
It infuriated his co-workers. “All right,”
one said later, “so he’s got a broken toe.
So he’s out for a couple of days and then
goes back to work. That doesn’t make
him a hero. If he hadn’t been so careless,
he wouldn’t have broken the toe in the
first place.”

Eva Marie Saint, who was in Danville
with the company, reports that many
times she had cause to worry over Clift’s
seeming disregard for his own safety.
“There was one scene where he had to
run and swing aboard a moving train,”
she says. “He began running for it, and
I couldn’t look. I was certain he was going
to miss. It didn’t seem possible that he
could make it but, thank God, he did.”

When Clift’s minor injuries caused delay
in shooting, he was frantically apologetic

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to cast and crew alike. One day he came
down with a severe toothache that later
proved to be an ulcerated jaw. “He went
around explaining it to everybody,” one
sound man says. “And it seemed to me
that in the very explanation he was
relishing the fact that he was in pain.”

Clift is extraordinarily soft-skinned. “His
emotions,” says one friend, “are just be-
neath the surface. He’s as sensitive as an
overbred kitten. We were watching some
‘Raintree’ rushes in the projection room
one day, when all of a sudden a terrible,
racking, death-rattle of a sob broke out
of him. Even though it was his own per-
formance he was watching, he was so
moved he had to rush out of the room.”

Such mysterious, compulsive behavior is
all the more bewildering when one con-
siders that Clift ought to be at the peak
of his powers. He has one of those faces
which seems to improve with age. “Women
go for that drawn, haggard look more
than they go for the clean-cut type,” says
Kendis Rochlen, the Los Angeles colum-
nist. Many agree. Monty, however, finds a
certain disadvantage in his looks, despite
feminine approval.

“He feels he’s getting typed,” says a
friend. “He’s always playing tbe brood-
ing, unhappy kid — the Monty Clift type,
you might say. He wants to do something
more challenging.”

Still, every role challenges him, within

its limits. Actors who have worked with
Monty attest to the fact that he is hard on
himself.

The truth seems to be that Clift’s odd >
approach to life is rooted in emotional
turmoil. There are a few keys to his
present personality, though they are diffi-
cult to find. His parents, immediate family
and close friends have entered into a tacit
understanding which forbids them from !
discussing him frankly. Nevertheless, what
stands out is striking.

Edward Montgomery Clift was one of a
pair of twins born to Ethel and William
Brooks Clift on October 17, 1920, in
Omaha, Nebraska. His twin sister, Ro- j
berta, is now Mrs. Robert McGinnis ol !
Austin, Texas. His older brother, William
Brooks Clift, Jr., is a television producer
in New York City. Monty’s father has al-
ways been a business executive — first a
banker, later an investment counselor. Af-
ter working in a bank in Omaha, the senior I
Clift went on to other financial positions-
in Kansas City, Chicago, and eventually
New York.

“We are very conservative people, be- 1
cause of my husband’s business,” Mrs. Clifi
said recently. “We do not like to discuss
our private affairs for that reason.”

Mrs.. Clift did say, however, that in her i
opinion Montgomery was a normal child
But she added that he had always been ;
thin, highstrung and extremely impres-
sionable. His sister confirms this view
She declares that on occasion, when
Monty’s mother was reading him a story
the boy would become so aroused that he
would burst into tears. But neither his
sister nor his mother feel that Monty’s i
sensitivity was in any way connected with
his home life as a child. They believe thai
he was “nervous” from birth.

A doctor in Hollywood who once mei
and spoke at length to Clift concludes.
“Obviously, the young man is the producl
of a childhood in which he felt he was noi
getting his due of love and affection. This
is often the case with twins; one will feel
that the other is getting all the attention
It is also familiar in the case of children
whose brothers or sisters are not much
older. Clift’s brother Brooks is only aboul
eighteen months older than the twins
Furthermore, the parents led an active life
They moved around a good deal and often
went to Europe on long visits. Continuous
travel can operate to the disadvantage oi
the insecure child.”

Clift himself once remarked to reporter
Eleanor Harris, “I call all that traveling
a hobgoblin existence for children. Why
weren’t roots established? Look at my
brother. He’s been married three times.”

In one sense, the “hobgoblin existence”
actually worked to Monty’s benefit. A
craving for affection frequently brings out
talent which perhaps might not develop i) !
the person were altogether adjusted to life 1
By becoming an actor, Clift was not only j
bidding for attention outside his family,
but also striving to prove his worth within
it. He himself admits that his desire to go
on the stage was rooted in a need to com-
pete with his sister and older brother.

He was thirteen when the decision was i
made. His father had had a financial dis-
aster and needed to do more traveling than ;
ever to get back on his feet. He decided to
establish a residence for his wife and
children in Sarasota, Florida. While there,
young Montgomery heard of an amateur
group that was putting on a play called
“As Husbands Go.” He went around to
find out “if they had any parts for boys.” ;
They did. His career was launched.

The conservative William Brooks Clift
was never altogether happy with his son’s
choice of a career. Acting, he pointed out,

was a highly unstable profession. This it
might be, Monty agreed, but he loved it.
Besides which he had special needs. Needs
developed by his love-starved family life
and encouraged by his consequent lack of
communication with other children.

As a youngster Monty never had any
special friends. A girl who knew him in
Florida says, “He kept to himself. He was
always polite, but there was something
brooding about him that held others at a
distance.” In the theatre Clift found some
of the emotional satisfaction he needed.
He could establish contact with his audi-
ence and receive warmth, affection and
approval without giving anything of him-
self emotionally to another person.

Even today Monty remains withdrawn.
Elizabeth Taylor, calling him “my closest
friend” in one breath, admits in the next
that she is not certain she understands him.
Norman Mailer, the novelist, says, “Monty
is one of the few people I’ve known for
years of whom I can say, ‘I don’t know
him at all.’ ”

From Florida the Clifts moved to Con-
necticut. That was in 1935. Young Monty
began going to New York, looking for
acting jobs. Thomas Mitchell, the veteran
character actor, was planning to try out a
show called “Fly Away Home” in summer
stock. Clift read for the part and was
hired. His parents gave their reluctant
approval, then kept a close watch on him.
His mother accompanied him to the the-
atre, waited until he had done his nightly
stint, then took him home. Such close
supervision often causes conflicts in a
youthful, impressionistic mind. On the
one hand, there is a need for love and
attention; on the other there is a growing
need for independence. A companionship
between parent and child that is too close
inhibits the natural development of ma-
turity.

These conflicts in Clift explain in part
his inability to form a permanent, lasting
relationship with any woman approxi-
mately his own age. There have been girls
in his life, but none has remained long.
Judy Balaban (now Mrs. Jay Kanter),
daughter of a motion picture company
executive, was seen with him frequently
for several months, and was said to have
been in love with him. It was more a
schoolgirl crush than anything else. But
Clift could not reciprocate. Today, Mrs.
Kanter does not like to talk about the in-
volvement.

The most important woman in Clift’s
life has been Elizabeth Taylor. She went
about with him before and after her mar-
riages to Nicky Hilton and Michael Wild-
ing. A former M-G-M press agent recalls
meeting her once at Idlewild Airport in
New York, with a limousine and chauffeur.
She refused to drive back to the city in
the studio car, preferring to ride in Clift’s.
But although Monty is as close to Miss
Taylor as he is to any other woman, he
I evidently was unable to permit his friend-
; ship to develop into love.

“Monty is like a schoolboy who worships
from afar,” one friend says. “In Holly-
wood, around the time he was finishing
‘Raintree,’ he had one of his crushes on
Jean Simmons. But Jean is happily mar-
1 ried. You see, Monty only permits himself
to get involved with women with whom
no real relationship, no marriage, is pos-
I sible.”

Libby Holman, a singer who is nearly
fifteen years older than Clift, is his most
constant companion.

ij “He’s very happy when he’s with
Libby,” one of Clift’s friends says. “Pos-
; sibly because he’s found in her the
l mother he was looking for and never
found in his own mother.”

Clift snorts at this explanation. All he
f will say, however, is, “Libby is one of my

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YOUNG IDEAS:

CROSSWORD PUZZLE

Across

1. “The Saga of — ”

8. “Ten Thousand Bedrooms”
has two

12. One of “Three Violent
People”

13. “Hot Summer Night” hero

15. Mr. Allison (init.)

16. Mrs. Laughton (init.)

17. Airwaves’ Carpenter or
Murray

18. Debbie is Carrie’s —

20. Formerly Maisie (init.)

21. “It’s — ” (song, early Doris
Day hit)

24. Singer Arden

25. She likes matadors (init.)

27. “The Young — ”

29. Cagney is now playing Lon
Chaney, —

30. A big — helps at the box
office

32. Character actor Neville

33. “ — Get Your Gun”

34. Ex-racketeer in “The Girl
Can't Help It” (init.)

35. Kelly, Nelson, Tierney

36. Late character actor who
was TV’s Long John Silver
(init.)

37. General in 63 Across (init.)

38. Husband of 9 Down (init.)

39. Diminutive Saturday-night
TV comic (init.)

40. “Love — a Many-
Splendored Thing”

41. “Arrivederci — ” (song)

44. “ — Alone” (song)

45. Making a good movie is no
easy —

48. Sailor in “The Rose Tattoo”

49. Do you think “Baby Doll”
is in good — ?

50. “The — Country,” Jimmy
Stewart starrer

52. Pert young redhead

56. “I’ve Told Every Little — ”
(song)

57. John Wayne’s current film
profession

59. Brynner doesn’t need it

61. “Men — War”

62. Newcomers shouldn’t —
the mannerisms of stars

63. “The — Road”

66. Photoplay readers were —
in the Gold Medal election

69.“ — It Romantic?” (song)

71. “The Seventh — ”

72. “The Fastest Gun — ”

73. Heroine in “The Wings of
Eagles”

74. Singer Horne

Down

1. One of Photoplay’s “Stars
of 1957”

2. Real name of 1 Across

3. “Seven Waves Away” star

4. Veteran British star

5. Bette Davis’ first husband
(init.)

6. TV’s friendly dragon

7. A smart interviewer can —
personal questions politely

8. Sal Mineo is still a —

9. Dancing girl in “Zarak”
(init.)

10. “You Are — Beautiful”
(song)

11. She’s dated Elvis (init.)

14. “ — Fall in Love” (song)

16. “The — and I”

18. Widmark is one of —
native sons

19. Blonde in “Untamed
Youth”

22. Danny Kaye role

23. Hero of “Autumn Leaves”
(init.)

26 .Samantha in “Friendly Per-
suasion” and others

28. Van Doren’s husband
(init.)

31. Heroine of “Slander”

33. Shirley Temple’s ex

37. “Because You’re — ” (song)

42. Where the coin was nailed
in “Moby Dick”

43. Top dancing star

44. Ex-drunkard in “The Big
Land”

46. “Show Boat” is loved for —
music

47. “Top Secret — ”

51. Locale of “The Mountain”

52. “It’s Only a — Moon”
(song)

53. What Jennifer Jones’ girl-
hood chums might call her

54. Mrs. Kovacs (init.)

55. Mansfield is said to be
Monroe’s —

58. Movies’ Col. Hess (init.)

60. Nobody has the title — in
“The Great Man”

64. First name of 25 Across

65. Original name of Ingrid
Bergman’s oldest daughter

67. Wendell Corey wears the —
star in “The Rainmaker”

68. “On the Waterfront”
heroine

70. “23 Paces — Baker Street”

Answers to Crossword Puzzle on page 106

very closest friends. She’s a wonderful ,
person.”

After “Fly Away Home,” which played I
in stock and then ran seven months in ;
New York, Clift’s destiny was sealed. He
would not think of anything but acting as
a career. His schooling had always been 1
haphazard — he’d had a succession of tutors (
and had only gone to one school, a private ,
one in New York, for a year. Now he 1
abandoned all thought of formal education
and threw himself into the business of j
carving out a stage career.

“Monty haunted the theatres,” a friend
of those days recalls, “and when he wasn’t
seeing plays or looking for work, he was j
over in the Public Library reading about
the theatre. I’ll bet he read every book
on the stage ever written.”

Clift’s first break in the theatre was fol- |
lowed closely by his first big disappoint-
ment. He was up for the part of the oldest j
boy in “Life With Father,” and was being
considered for the role by the authors,
Howard Lindsay and Russell Crouse. “We
finally decided against him,” Lindsay re-
calls, “because he was a little ‘special’ ... I
he wasn’t quite the lad of the Nineties we
had in mind. He looked a little too in- i<
tellectual.”

Clift was nearly beside himself with
disappointment. He was certain that some
aspect of his acting had caused him to
lose the job, and he threw himself into his
work with even greater intensity. It is I
safe to say that few actors in the history
of the American theatre have demanded
so much of themselves in preparing for
roles — even small roles. When a part re- :
quired that the character imitate a dog
barking, Clift studied with a professional
animal imitator until he had mastered the
proper barks. When another role required ;
him to pretend to play a flute, he became
a passable flautist. Before reporting for
work on “Red River,” his first movie, he
became an expert horseman.

“Red River” came after Clift’s unprece- ■
dented intensity had carried him through 1
a succession of smash hits on Broadway:
with the Lunts in “There Shall Be No
Night,” with Tallulah Bankhead in “The ;
Skin of Our Teeth,” in “Our Town,” “The
Searching Wind,” “Foxhole in the Parlor,”
and “You Touched Me.”

He was also with Fredric March and
Florence Eldridge in a play called “Your
Obedient Husband,” at which time he sud- !
denly came down with a case of mumps,
promptly picked up by several other mem-
bers of the cast. “It wasn’t Monty’s fault,
but he felt personally responsible,” says
the press agent for that show. “We all 1
pitied the kid; he took it so hard.”

This is one of the few instances on (
record in which a press agent expressed |
any sympathy for Clift. He was, and is,
the bane of all publicists’ existence. He
often refuses to show up for interviews,
cancels appointments with writers and
in general treats reporters with scorn. A
Hollywood newspaperman once encoun- ;
tered him in Martindale’s bookshop in
Beverly Hills, moodily paging through a
copy of Dostoevski’s “The Brothers Kara-
mazov.” “Hello, Monty,” he said cordially. J
Clift looked up like a frightened deer, H
hastily put down the book and scurried
out of the shop.

Clift’s major success on Broadway came
during World War II. A chronic ailment <
of the colon, which Clift (who fancies
himself a medical authority) says he
picked up on a trip to Mexico, kept him
out of the service. Subsequently his career
in New York prospered. Before long he
was much in demand, and before long his
temperament began to assert itself.

One hot summer night during the run j
of “Foxhole in the Parlor,” Monty made it
the theatre hands turn off the air-condi- J

tioning equipment, explaining to the man-
agement that it was interfering with his
performance.

“He was a calculated eccentric,” says
Richard Maney, the noted Broadway pub-
licist. “He could have given lessons to
Brando, whom he preceded in the goofy
department. That may be why he and
Tallulah got along. That is, at least she
spoke to Monty, which was more than she
did to Brando when they appeared to-
gether.”

Most of Clift’s eccentricity was not cal-
culated, however. Somewhere along the
way he developed a genuine passion to live
his own life, alone and undisturbed, some-
thing few stars ever have been able to
achieve. Part of it may have been due
to the restraining influence of his parents
in his early years. And part of it may have
been due to his belief, developed in child-
hood, that nobody loved him or cared
about him. To compensate for that, he
chose to go it alone, as though to prove to
the world that it didn’t really matter
whether anyone cared for him or not.

So he lives today virtually alone. He
has a secretary, Marjorie Stengel, who
takes care of his appointments and helps
protect him from the world. In his New
York apartment, a duplex in the East
Sixties, a housekeeper comes in and cleans
for him; in Hollywood, in the secluded
furnished houses he sublets, he employs
an Oriental houseboy. He regards tbe
New York place as his real home, and
when he is in town he will shut himself
up in it for days, never answering the
telephone, rarely bothering to dress except
in a bathrobe, reading and listening to his
large collection of records.

“Monty may be in town for weeks and
you’ll never hear from him,” says one
friend, “and then, all of a sudden, you’ll
see a good deal of him. That’s Monty; you
have to get used to his moods if you want
to keep him for a friend.”

Clift himself sees nothing unusual about
this behavior. He blames everything on
the extreme concentration he brings to
each role. If he appears in a restaurant
without money, as sometimes happens, he
shrugs, as though to explain that he was
thinking of something else while he was
dressing — which, in fact, probably was the
case. “I don’t believe he knows bow much
money he has,” says Laurence Beilenson,
his attorney and business adviser in
Hollywood. “He’s not rich, as some stars
are, but he’s comfortable. Yet I get the
impression that even if he were broke it
would not matter much to him.”

A good deal of his money goes for travel.
Whenever he can get away, he’s off — -
Europe, Cuba, Mexico. Sometimes he
travels with Kevin McCarthy and his wife
Augusta Dabney, regarded by other friends
as Clift’s “substitute parents.”

“He’s still looking for affection, still
searching,” one acquaintance has said. “In
that sense, the travel is symbolic. And in
that sense, he’s never grown up. He’s still
a little unloved boy in his own mind, try-
ing to resolve the conflicts developed in
childhood, and yet unwilling to grow up
and face bimself as Monty Clift, the man.”

That may be the most important key to
the character of this complex, fascinating
personality, a personality which bas de-
veloped into one of the finest acting talents
of our time, as well as one of the most
puzzling eccentrics in a world of oddballs.
At this writing, Clift seems to be faced
with the choice of growing up or cracking
up. The path he chooses is solely up to
him. His many fans and friends devoutly
hope it will be the former. The End

PLAN TO SEE: Montgomery Clift in M-G-M's "Rain-
tree County."

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CITY STATE

Fame Cloaks the Lonely Heart

( Continued from page 43)
herself — and privacy is a luxury she can-
not afford. She is beautiful — and must
slave to make the world forget or at least
ignore it. She has glamorous clothes, yet
she has neither the time nor even the
desire to wear them. She has no time for
anything that is frivolous or dilatory, that
is not work or the preparing for work.
Today she is caught up in a feverish drive
to earn the fame that is already hers —
and in that she has no time to live or to
love.

Kim Novak’s star has risen far beyond
the heights envisioned by the little dreamer
of Sayre Street. And Kim Novak is con-
sumed with an unrelenting need for Kim,
the actress, to catch up with Kim, the star.

Phenomenally, with only six pictures
behind her, Kim is starring in the “Jeanne
Eagels” story, a difficult dramatic role
coveted by every top actress in town. Im-
mediately thereafter Miss Novak, who has
never sung or danced professionally, is
joining professionals Frank Sinatra and
Rita Hayworth in “Pal Joey.” As a result,
she is working too many hours a day, both
on and off camera.

“It’s now or never,” Kim says. “Things
vvon’t wait. I’m not bucking for anything.
I’m just trying to do the best job I can.”

Perhaps the reason for this is that Kim
still feels left out. In her own mind she
does not belong to the group in which she
now lives — the group of talented, able
people, the real craftsmen of the movie
industry. Desperately she is trying to be
one of them. Others may be as well known
as she, but they have more ability. “Some-
one else could just step into ‘Jeanne’ and
do it right,” Kim says. “But I have to
work. I have to catch up with my fame.”

Unfortunately, Kim is at a disadvantage.
She didn’t start as one of the dedicated;
movies fell into her lap without half try-
ing. “I never starved to act,” she says. “I
never painted scenery. This wasn’t a burn-
ing thing from childhood for me, as it has
been for so many others. I didn’t fight for
it. But today it’s in my blood, and I want
it to stay.”

To Kim’s friends it seems as though the
contest is an inner one — Kim against her-
self; Kim against her feelings of inferiority;
Kim against her fears of never being good
enough. They are afraid her standards are
too high, that she expects too much. They
have seen her become ill with fright and
anxious with worry over a new role. Her
friends are concerned, and rightly so. Kim
is driving herself at an inhuman pace.

Mac Krim was one of the first to speak

out. “Look, Kim,” he said, “your health
comes first. The human body will only
take so much.”

But Kim doesn’t listen. “I can’t help it,”
she says. “I have to do this now. After
‘Jeanne Eagels’ I’ll take it easier.”

This is what she said after “Picnic.”
This is what she said after “The Eddy
Duchin Story.” Mac thinks that this is
what she will say after “Pal Joey.”

What Kim seems to fear as much as not
making the grade, despite all her hard
work, is not being wanted by the public
after a while. She is obsessed by a feeling
of impermanence. It is actually a basic dis-
belief in her own popularity. People don’t
really like her, she reasons; they just think
they do — now. The fear wells up in her
stronger when she imagines that at the
height of her artistic achievement she will
be box-office zero. All the work will have
gone for nothing. It does no good to point
out her fabulous success to date — how she
was polled number-one box-office star
by Box Office Magazine itself. Her first
reaction was simply, “Ridiculous! It
couldn’t be true!” Then, when she finally
believed that it was true: “Do you realize,
now all I can do is go down?”

Not, however, in the experienced opin-
ion of producer-director George Sidney
who’s directing Kim Novak in both “Jeanne
Eagels” and “Pal Joey,” and foresees a
long and sparkling future for her. “Like
Jeanne Eagels, Kim Novak is a natural,”
he says. “She has that golden thing you
can’t give anybody if it isn’t there. Kim
was born with the magic called talent.

“We wouldn’t have made the ‘Jeanne
Eagels’ story without Kim,” Sidney says.
No other actress was considered for the
title role in the picture he describes . as
“the story of the rise and fall of a meteor
who came out of nowhere and blazed
across the sky too fast and broke into a
thousand pieces. That was Jeanne Eagels.

“Kim is in essence very much like her.
Kim has depth and with it the same kind
of spirit, the freedom and abandon, the
same latent ability that made Jeanne
Eagels the great actress of the American
theatre.”

But although “Eagels” is in the vernacu-
lar an “Oscar part,” Kim says she isn’t
driving for an Academy Award. “I don’t
believe in making goals. Then you’re just
disappointed. But whatever I do, I give
everything. That’s the way I am. I can’t
understand anybody doing any job and not
doing the best she can.”

Which is all too true, Kim’s friends say,
of “Kim, the perfectionist.”

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“I

Mac K’im learned early in their ac-
quaintance how determined Kim can be c(
about any project. Mac plays polo and tl
Kim, who’s mad about horses, would ride w
along and cool off the horses with him. h;
One day she insisted on hitting a ball ; ti
off a horse. j[

“Oh no you don’t,” he said. f

“If you do it, I can,” Kim insisted, fi
Whereupon she grabbed a helmet and a S
mallet and took off — right over the horse’s n
head.

“Kim took a nasty spill. She was bruised i y
and shaken up, but she insisted on re- y
mounting immediately. Not many girls v
would do that. This I liked very much,” i
Mac recalls.

Ironically enough, it was the same de- I
termination — with another goal — that was
to take Novak out of Mac Krim’s life so
much of the time later on.

“Kim is so conscientious about her work
— I can’t tell you. At dinner Kim’s studying
her script. Riding along in the car, she’s
reading her script. Before she started
‘Jeanne Eagels’ Kim was studying dancing
for ‘Pal Joey’ four hours a day. When 1 1

picked her up at night, the kid would come
limping out of the studio.”

“Take your shoes off,” Mac would say
when Kim crawled wearily into the car.
And as he recalls now, “She would have
Band-Aids on her feet, and blisters. They
would be bleeding.”

“Nobody works as hard as Kim,” agrees
Norma Kasell, Kim’s secretary and her
long-time Chicago friend, who first en-
couraged a shy, insecure teenager to take
up the modeling that eventually brought
her to Hollywood. “Kim would dance so
long and so hard, she’d dance herself right
out of her shoes and not even notice. Kim
would stay with a step until she got it if
it took all night. Kim loses herself com-
pletely in whatever she’s doing, and it has
to be right — exactly right.”

Kim is a brutal critic of her own per-
formances. In a projection room she will
agonize over even a wrist movement that
appears awkward to her. When a reviewer
of one of her earlier pictures remarked
that Kim essayed such-and-such role “and
looked beautiful throughout,” Kim was in
tears. “Who cares about looking beau-
tiful throughout,” she said. For Kim, her
beauty is just one more obstacle in prov-
ing she’s an actress.

When she isn’t working before the cam-
eras, Kim takes drama lessons from Ben-
no Schneider at the Columbia studio from
ten a.m. until noon, dancing lessons all
afternoon, singing lessons from seven to
eight p.m. (or before ten a.m.) . Two eve-
nings weekly she spends four hours work-
ing with Batomi Schneider’s drama class.
The other three evenings she usually re-
hearses for the class. Dinner? Often a hot
cup of soup and a hamburger she picks up
at Googie’s en route home to change
clothes.

“If I fix something at the apartment, I
relax and let down. This way I don’t lose
my momentum,” explains Kim. “When I
let down, I let down all the way. Then I
can’t do anything more. I have to keep
right on going now. It’s the drive that
keeps you going.”

However, for all Kim’s “drive,” the
physical hardships, long hours and loss
of sleep almost caught up with her. The
studio had been working against time from
the beginning, to finish by the first of
March in order to keep commitments with
Frank Sinatra and Rita Hayworth for “Pal
Joey.”

Costumed scantily as a hootchy-kootchy
dancer in the carnival scenes, Kim worked
during rain sequences and freezing nights.

When a studio worker tried to put a coat
around her between scenes, Kim said,
“I’ve got to get used to this — without the
coat — so I can go right into the scene.

“This one is exceptionally hard,” Kim
continued. “I haven’t slept more than
three hours a day since we started. After
we get through working, I have to have my
hair done, and with this elaborate hairdo,
that sometimes takes four hours. By then
it’s midnight if we are working days, and
I’m due back at the studio by four or
five a.m. We shoot Saturdays. And on
Sundays I’m supposed to rehearse. We
never have time to rehearse on the set.

“I came to work one afternoon at two-
thirty and I didn’t finish until the next
day.” At eleven the next morning Kim
was driving across the ranch lot when an-
other player hailed her with, “Just com-
ing to work?” She’d never been home.

“I don’t intend to do this from here on,”
Kim said earnestly, meaning every word at
the time. “At first I’ve had to work hard
to make up for lost time. But I’ll let down
after this one. Not during this,” she said
quickly. This was “Jeanne Eagels” — Jeanne
too worked this way.

Kim feels a double responsibility in
playing the part of the famous actress
whose name is legend in the theatre today.
As she told a friend, “I have got to do it
right — I’m Jeanne Eagels.”

Kim has dedicated herself to this por-
trayal, yet part of her is the sentimental
girl from Sayre Street, Chicago, who feels
she may be missing something, the part
who says, “For three years now I’ve been
working on the day of my birthday. We
worked New Year’s Eve and I went home
and fell asleep at nine p.m. On Christmas
afternoon I had to come in and get my
hair done and rehearse some dialogue
changes. This is a little too much . . .”

Then as usual come Kim’s famous last

words, “But after this one — I’ll let down.”

During this one, Kim’s dressing-room
walls are taped with clippings of Jeanne
as Sadie Thompson in “Rain.” She has
talked to everybody who ever knew Jeanne
Eagels on the West Coast. She has had
long sessions with her understudy, whom
she found still living here. Together with
Norma Kasell, Kim has combed every
library for material about Jeanne. They
had amassed two scrapbooks full. “I’ve
read every line ever written about Jeanne.
You have to do this to know the person,
to become the person,” says Kim.

From the beginning Kim’s chief anxiety
concerned the latter tragic sequences when
the famed actress had resorted to alcohol
and dope. Driving along Wilshire Boule-
vard with Mac Krim one night, Kim had
said suddenly, “How will I do the alcoholic
bit? You can’t act a part unless you’ve
lived it.” Then she startled him, saying
seriously, “Mac — you’ll just have to get me
intoxicated some night.” Although it would
never materialize, it would have been a
double performance — neither of them
drink.

Determined to stay in character emo-
tionally, particularly in this challenging
characterization, Kim told him conscien-
tiously that she wouldn’t be seeing too
much of him during the picture. Particu-
larly during the latter sequences. “I’ll be
horrible then. I don’t want you to see me
that way.”

But during this happier time of the
story, Kim Novak was bubbling along,
typically keying her own mood to that of
the character she’s portraying.

Kim admittedly lives emotionally with-
in that person as much as possible. And
she would have little interest in Kim
Novak for the time being. “I’m living
Jeanne Eagels’ life now and I think that’s
enough. I’m not Kim Novak at the moment.

And what interests Kim Novak doesn’t
interest me,” she says frankly.

“But we have much in common,” Kim
goes on. “Jeanne was mercurial and sensi-
tive, and with me everything changes too.
My moods, my attitudes, the way I feel
towards people — everything.”

With Kim’s wealth of imagination and
emotion she sometimes gets so deeply
within the character she’s portraying, it’s
difficult for her to pull out — even if she
would. During the filming of a dreamy
death-mood sequence in “The Duchin
Story,” Kim terrified a friend one night
with her strange expressions and behavior.
“What's wrong with you?” her friend said.

“Oh — please forgive me,” Kim said. “I
can’t get out of the Duchin bit.”

Kim can’t understand how more ex-
perienced stars can turn emotions off and
on at will. To her close friends Kim ex-
plained when she went into “Jeanne
Eagels” she wouldn’t be seeing too much
of them. “I’ve got to stay in character,”
she said. “I can’t be Kim Novak at night
and be Jeanne Eagels the next morning.”

And a lovely serious-faced Kim was say-
ing now, “I believe you keep a part of all
the people you portray. Sometimes I think
I’ve left Kim Novak somewhere along the
way.”

Not too far away. Not too far from the
shy little girl named Marilyn who wrote
poetry and lived within the vivid world of
her own imagination peopled with lucky
clowns and governed by a magic wishing
tree. A little girl who used to recite her
stories so graphically the teacher would
protest to her mother, “Marilyn’s imagi-
nation is inflaming the other children. Un-
less she stops, I’m not going to call on
her.”

This imaginative child did not have her
roots in an exciting stage or screen back-
ground but in a quiet old-world family.

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Kim’s father, Joseph Novak, a former
history teacher, later became a freight dis-
patcher for a railroad. She had a wonder-
ful practical down-to-earth mother. And
Marilyn’s beloved Grandmother Krai was
an immigrant from Prague, Czechoslovakia,
who handed down to this little girl her
own reverence for a worn black rosary.

Not too far from this background is
Kim, the girl who worries when today’s
star-pressures close in so fast there’s no
breather to share life with those who mean
much to her. As one who is close to her
says, “Kim feels badly because there’s so
little time to be with all the friends she
used to see. She worries. Will they un-
derstand?”

Not too fast, or too far, is the meteor that
is carrying Kim Novak into fame’s clouds
today to bring her back to earth, rescued
by her own substantial earthy heritage.

Kim is grateful for her early life. “I don’t
regret those years. They add to my happi-
ness today,” she says. “Because of them
I can appreciate today even more. We
never went without food. We always had
the necessities — just no luxuries. And to-
day it’s a big thrill to be able to afford a
few.”

In spite of long hours and the wearying
demands and the fierce pressures, today is
a big thrill for Kim Novak. To all who
consign her to a vale of tears as a “mel-
ancholy blonde,” a “bewildered beauty”
and the like, she says, “I’m not unhappy.
I’m working with emotion all the time.
I’ve always been quick to laugh and cry.
When things unhappy happen — and in this
business they always seem to be happen-
ing— I cry. I’m not good at shrugging it
off when something goes wrong. I show
how I feel. But when it’s out and over, I
don’t go around brooding or boiling under
the surface as many others do.

“There are all kinds of happiness. And
I’ve had all kinds. But I’ve never had the
work kind, and this is what I want now.
Perhaps people think I’m unhappy because
I don’t do things that spell happiness to
them. I’ve done all that. In college I be-
longed to a sorority and I went to dances.
I’ve gone out a lot since, and I’m not
through. I’m still going to live it up like
crazy.

“But today, my work is my happiness.
Believe me, if I were to get dressed up in
party clothes — which I hate doing — and go
to large parties, this would make me very
unhappy. I don’t like being out with
crowds of people. I have to be with a lot
of people all the time in my work. I’ve
taken a little cottage down at the beach
now and that’s for me. Just give me a script
to read and an open fire and I’m happy —

“And when I’m happy — nobody could
be happier,” laughs Kim. “Last week I was
so happy,” she recalls typically. “It was
a beautiful day. I went swimming in the
ocean — the picture was going great.

“I’m a moody and impulsive person and
I go along with whatever I feel like do-
ing at the time. Right now I want to work.
This is work? A love scene with Jeff
Chandler?” she says laughingly. Then she
answers her own question about motion
pictures. “This is work — but it’s my hap-
piness now. The only kind of happiness I
haven’t had is being married,” says Kim.
“But that will come.”

Jeanne Eagels was happy too this day.
“During this carnival sequence with Jeff
she’s at the very peak of her happiness,”
Kim says of Jeanne. “It’s the happiest day
of her life — but she doesn’t know it. After
this — no more.”

And suddenly her two worlds are one.

“Maybe it’s the same thing with me,”
says Kim. “It may be when Mac and I
were playing miniature golf last year and
riding bicycles on Wilshire Boulevard.
Right then may have been the happiest

(days of my life. Someday I may look back
and know this. But today — you don’t
know.”

Today there isn’t time to know. “I’m a
one-way girl,” Kim says in her own hon-
est way. “This would be a very bad time
for any man to be interested in me.”

Gossip columns linking Kim with any
number of various swains are a source of
mystery to her. She’s dated Sinatra briefly,
but there have been only two men pres-
ently in Kim Novak’s life, each important
in his own way. Mac Krim, Bel Air sports-
man and investment broker, of whom Kim
says, “He’s just a wonderful guy.” And
Count Mario Bandini, wealthy young Ital-
ian businessman, who was an exciting beau
during Kim Novak’s whole European ad-
venture, when she attended the Cannes
Film Festival last year.

Kim met the charming, intelligent Ban-
dini at a luncheon in Rome. Although
columrpsts keep referring to him as a
Count, he told Kim that he was not a
Count — that over there they just referred
to him that way. Their first date was to go
to a palace ball, with dreamy-eyed Kim
in white swirling chiffon, surrounded by
dignitaries and titles on every side.

Mario Bandini was a devoted, intelli-
gent, charming escort, joining Kim and her
publicity representative, Muriel Roberts,
in Venice, Cannes, Paris — wherever they
were, whenever his business interests al-
lowed. He’s associated with romantic
memories of Maxim’s and Harry’s Bar and
lilacs and Venetian gondolas and Neo-
politan songs.

“Count Bandini — they’ve even got me
doing it — Mario’s coming in April,” Kim
informs us. “He was coming Christmas
but I was working and he postponed his
visit. He’s a fine person, nice-looking, gal-
lant, just the way you think a European
man would be. Just the kind of man I

wanted to meet when 1 knew i was going
over there.”

Kim will make no predictions about what
will happen. Personally, she leaves her
future to any prophets who dare. But it’s
doubtful whether Mario Bandini, or any
European, would compete with — or under-
stand— the world that is Kim Novak’s now.

This world nobody could understand
perhaps as well as Mac Krim, who knew
Marilyn Novak when Fame tapped her for
a chosen child. He helped give her con-
fidence during those first months when she
needed it most. He understands Kim’s dedi-
cation to a goal, to proving her place in
that world. And watching Kim’s star rise
he must know that world could someday
be without him.

Once, back in Chicago, a little girl had
wished for a prince — but there’s no time
and no place for one in the kingdom
into which Kim has been projected so
rapidly. She’s a one-way star in a one-
way sky. And how do you stop a meteor
in its flight?

But there are times when the two
worlds of Kim Novak meet and are one.

Kim Novak was Jeanne Eagels Christ-
mas Eve. But when the cameras stopped
rolling and the sound stage darkened,
and Hollywood put all its magic away, a
weary Kim told Mac Krim, “I want to go
where it feels like Christmas, where there
are children. Do you want to go with me?”

They were soon in the car heading for
Rolling Hills, where Norma Kasell lives
with her husband and three children.
Kenra, nine; “Little” Kim, six; and Kristin,
aged two. “Big Kim” idolizes “Little Kim,”
who’s quite a personality in his own right.
Blond crew-cut, all-boy, and a wide grin.
“You came first — I was named for you — ”
Kim tells a delighted little boy.

“We’re having quite a few people over,”
Norma Kasell had explained on the phone

to Kim. Did triends trom Chicago, two
couples, one with four redheaded little
boys. Still want to come?”

“Oh yes,” Kim said. They sure wanted
to come.

It was a real folksy evening. Neighbors
dropped by and the house bulged with old-
fashioned family cheer. They sang, they
taped everything anybody could think of
to say, and they were having so much fun
making Christmas for the children that all
present decided to spend the night there.

For a small house — this took some spac-
ing. The children were bedded down on
the floor, and the adults spent most of the
rest of the night wrapping presents for
them. Kim finally got sleepy and went to
bed in a single bed in one of the rooms,
Little Kim blissfully asleep on a pallet on
the floor beside her bed-

Around dawn a Chicago father decided
to look in on all his redheads and make
sure they were tucked in. “I can only find
three of my boys!” he said. His five-year-
old was nowhere around. The search was
on. They found him sleeping on the shoul-
der of a beautiful blonde. He’d climbed
into bed with Big Kim. And Jeanne Eagels
was nowhere around.

This is the Kim Novak who wished upon
a tree and got magic beyond measure.
The lonely girl who longed to be part of
the crowd and who today belongs to
millions.

The Kim who won’t draw the blinds of
her bedroom because the dawn is “so
crispy new — the most beautiful time of
the day.”

The Kim who rides on the back of the
wind. Who loves to lie on the beach at
night and count the stars in God’s heaven
— and forget her own. The End

DON'T MISS: Kim Novak in Columbia's "Jeanne
Eagels" and "Pal Joey."

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Between Heaven and

( Continued, from page 47)

“I have to look beautiful and poised and
be sure of myself. I feel so far from it!”

She went on from this to dip into her
troubles as an actress generally. But
after a while she was no longer talking
about her professional problems. She was
talking about the personal problems of
Anne Baxter, woman.

By this time she was crying. As if she
too realized that the only way to be rid
of some inner affliction was to purge her-
self, she was pouring forth a long tirade of
self-condemnation. She said that she had
grown up only in certain ways, ways that
were necessary to fulfilling her ambitions.
In other ways she had never grown up.
She spoke about her marriage and blamed
herself for the divorce which ended it.

“Our greatest fault, my husband’s and
mine,” she said, “was that we couldn’t
fight, and let the truth out. We were too
reserved. Or too frightened, if the truth
be known, to let our real differences
emerge. We avoided, as too many couples
do, those honesties through which you
come to grips with a marriage and handle
it. Or handle yourselves.

“I blame myself most because I was the
woman. It was my business to see what
was happening. And if I had really been
in charge of myself, instead of master only
of that part which was ambitious and self-
seeking, there might never have been a
divorce. And even then, there might have
been a reconciliation. It sickens me that
what I have left behind in my life aren’t
footsteps in the sands of time, but foot-
prints in cement. It can be too late!”

The doctor busied himself to give her a
sedative. After a while it began to take
effect, and her eyes grew heavy-lidded. He
rose quietly to his feet, but before he
could go, Anne had a few more words to
say, this time (and the doctor had to smile
inwardly) spoken as an actress, as if she
well knew what was happening and was
trying for a good curtain line . . . and the
lines came out all mixed up.

“I so often think of the play ‘Our Town,’
when Emily Web, the young girl who has
died, comes back from her grave for a
brief interlude. She tries to establish com-
munication with her family and fails.
Finally, sadly, she has to say, ‘Oh, it all
goes so fast. We don’t have time to look
at one another. I didn’t realize — all that
was going on and we never noticed.’ ”

Now the actress fell asleep. The doctor
lowered the shades and tiptoed from the
room. When he reached the lobby of the
hotel, he telephoned the company man-
ager and told him that he saw no need to
cancel the show the next night. Miss
Baxter would be able to go on.

The doctor was right. Anne Baxter went
on and performed well. She has always
been able to go on. It is only in real life
that she has failed to perform in a manner
calculated to bring a full measure of hap-
piness. This is purely because she hasn’t
done a good job of playing the most im-
portant role of all — the role of Anne Bax-
ter. She is both too intelligent and too
honest to think that she ever will.

“I know now,” she once said, “that the
life in Hollywood which I had to lead,
that any inordinately ambitious young
actress has to lead, is like walking through
a mine field. What you stand to lose, with
each mine you touch off, is another phase
of your own identity — your all-important,
personally possessed you. It means a
steadily increasing inability to be yourself
during those precious moments when it is
only as yourself that you can be touched
by the heart’s warmth we all hunger for.
Real friendships. Even more fleetingly,
real love.

“After a while you know the field is
mined, and you know what is happening
to you. But you can’t help it. You still
walk through the field. And when you get
blown up — and you do — you try in a
dazed way to put yourself together again.
The only trouble is that you can’t put
yourself together exactly the same as you
were before. There is a difference. And
you don’t always like this difference. It
sometimes even frightens you, and you try
to hide your fright from the members of
your family or your close friends. ‘Is this
what I have become?’ you ask yourself.”

What has happened to Anne Baxter is
not uncommon. It is true, probably, of
most sensitive feminine stars, and of prac-
tically all the more beautiful and success-
ful ones. But where an Ava Gardner or a
Marilyn Monroe or a Rita Hayworth will
seek sooner or later to leave Hollywood,
as if by so doing she will thus be able to
leave her unhappiness behind, an Anne
Baxter is under no such illusion.

“That’s just kidding yourself,” she com-
mented recently. “Between an actress’s
private life and her professional life there
can be no partition, as so many have so
hopefully claimed. After you’ve made your
bed, you can’t lie on it a woman in love
one minute and a public personality the
next. Each conflicts with the other and
both conflict with the inner you. The am-
bitions, the crackling nerves you take to

Color portrait of Tony Perkins by Mar-
shutz; Anne Baxter by Fraker; George
Nader by Barbier from Globe; Debbie,
Eddie and Carrie Fisher from M-G-M;
Ava Gardner from M-G-M; Pier Angeli
and Perry from M-G-M.

the studio you take wherever else you go.
They are damningly still with you when
you want to take your hands off the con-
trols and be just a woman.

“You can get pretty desperate because
this is true. Because whatever the magic
of stardom is, with all its lights and glam-
our and shouting, it is not the magic that
leads to simple fulfillment. In time this
has its effect on you. I have become,
quite frankly, a manic-depressive, saved
only by — thank God for it — a sense of hu-
mor. When I feel good I feel so wonder-
fully good. But Lord, how low I can get,
and how often I go through the cycle!”

A hazel-eyed, intense girl who has al-
ways had to fight off a tendency to be
pudgy, Anne is successfully slim as she
now enters her thirties. She has lived
quietly with her five-year-old daughter
Katrina, ever since her divorce in 1953
from John Hodiak, who died of a heart
attack a little more than a year ago. Anne’s
home is now a shrubbery-hidden, smartly
remodeled Hollywood house located just
above the Sunset Strip, where are gath-
ered all the town’s night clubs — to which
she rarely goes.

She has a fervor for acting that is as
strong today, apparently, as it was when
she was just a child living in Westchester
County, New York, and begging her folks

to bring her to Manhattan to see the
Broadway plays. She can remember every
part she has ever had, from her grade-
school roles to her latest ones in Cecil B.
De Mille’s “The Ten Commandments” and
in “Three Violent People.” This was aptly
demonstrated one evening about five years
ago when she happened to be eating with
Hodiak in a Beverly Hills restaurant. The
waiter brought a note from a diner who
had observed her enter.

“I was your leading man once, in the
sixth grade at Horace Greeley School in
Chappaqua, New York,” the note read.
Anne took one look at the signature and
wrote a quick reply. “No, I was your
leading lady,” she corrected. She was
right. He had been the star.

She is very precise about such things;
she tends to date events by the roles she
happened to be playing when they oc-
curred. “It was just before I worked in
‘Sunday Dinner for a Soldier’ that I met
John,” she will say. This was in 1944, and
John, incidentally, was also starred in the
same picture. While making the film they
fell in love. “But,” as she has also said,
“it wasn’t until I was cast in ‘The
Razor’s Edge’ that I decided to marry
John.” That was in July of 1946. Their
little daughter was born in July of 1951, or,
as Anne would put it, just before she
worked in “The Outcasts of Poker Flat.”

A deep unhappiness made itself evident
in their lives a year later and they were
unable to cope with it. She won her
divorce decree from Hodiak at a time
when her name was being linked roman-
tically with director-publicist Russell
Birdwell.

If Anne Baxter’s cup is not brim full
today, it is all the more strange be-
cause she never needed Hollywood in the
first place. But it seems that little girls
who are also stragestruck are made not
only of sugar and spice but great gobs of
dissatisfaction as well.

Anne’s parents, Mr. and Mrs. Kenneth
Stuart Baxter, learned this about their
only child when she was barely able to
talk. Mr. Baxter, vice president of a dis-
tillery corporation, was quite well-to-do.
Mrs. Baxter’s father was, and still is, a
world-renowned figure in architecture, the
much discussed non- conformist Frank
Lloyd Wright. Anne had only to accept
her status to gain for herself a good life,
it would seem. But this was too easy.
This she would not do.

“Some people have to overcome the
handicap of adversity to get places,” she
once explained. “My barrier, I knew right
from the start, was the cushion my birth
had put behind me. All I had to do was
lean back and live comfortably. I was
frightened at the prospect, because I knew
it would take the fight out of me, make the
life I craved seem less important. It is
hard to remember exactly how you felt
as a child, but the essence of it all was, I
think, that I wasn’t satisfied being just
myself. Nor did I want to be some beauti-
ful, mystical creature. I felt a great urge
to be useful . . . through acting. Besides,
if it isn’t enough being just you, what
better place than the stage to be someone
else?”

Anne was not yet twelve when she was
studying the theatre in a dramatic school
in New York. This was after her folks had
moved to Chappaqua from Michigan City,
Indiana, where she was born. She was not
yet fifteen, had been an acting apprentice
at the Cape Playhouse and had done three
Broadway plays when she was invited to
make a movie test by the then titan of
picture-making, David O. Selznick. Her
mother chaperoned her West, and Anne
has never forgotten the afternoon she was

ushered into Selznick’s office in Culver
City.

“I thought this was the moment when
my dreams would all take real form,” she
reports. “Somehow I had found out that
they wanted me for ‘Rebecca,’ to co-star
with Laurence Olivier, under the direc-
tion of Alfred Hitchcock. My head was
filled with this upper realm of acting which
I was about to enter, and I planned to
conquer Mr. Selznick with my poise and
beauty.

“ ‘How do you do?’ I began, as soon as
I was in his presence. I waited for him
to jump up and greet me.

“ ‘Come here,’ he said. ‘I want to look
at your teeth.’ ”

Mr. Selznick got to look at Anne’s teeth,
and she did not, as was her wild impulse
I at the time, neigh like a horse while he
was peering at them. In any event, the
tests (she made eight of them) did not
win her the part she was up for. The
makeup man did his best, but Anne kept
i looking more like Olivier’s daughter than
■ his bride. The role went to Joan Fontaine.
| Eut Anne had made an impression, and
I within a few months she was offered a
term contract for $350 a week at 20th
1 Century-Fox Studios. She was still only
I fifteen.

Her father’s business was in the East,
i Her mother wanted to stay with her hus-
band. But a great new world was calling
Anne, and they had only to look at their
daughter to know that she would explode
on their hands if they did not give in to
her. Mrs. Baxter came to California again
to establish a home for Anne. Mr. Baxter
set about trying to transfer his business
interests to the West Coast as well. It was
to take several years before he succeeded.
In that time Anne had worked with Wal-
lace Beery in “Twenty Mule Team,” with
John Barrymore in “The Great Profile,”

with Dana Andrews in “Swamp Water”
and with Orson Welles in “The Magnifi-
cent Ambersons.”

Wallace Beery was aghast at her eager -
beaverness, and urged her to slow down.
John Barrymore watched her trying to
give her part everything she had, gestures
and all, and asked sarcastically, “Does she
have to swim?”'

She was properly impressed by her
first co-starring role, but in her following
picture Orson Welles had only to glower
at her once to calm her down.

Anne at seventeen looked it, or per-
haps less. She hadn’t the mature appear-
ance that some girls achieve early. She was
truly unsophisticated. Once, in a scene in
“The Great Profile,” Barrymore let loose
a long string of invective in her presence,
but she wasn’t aware that he was cursing
until director Walter Lang made him
apologize to her. Anne had never before
so much as heard any of the words Barry-
more had used; she certainly didn’t under-
stand them.

As a matter of fact she spent a great
deal of her time then trying not to be
shocked — or at least not to look shocked — -
at the things she was hearing and seeing
in Hollywood. With a sort of schoolgirl
instinct she tried to conform. When people
she was with laughed at something, she
laughed too, though she generally had no
idea what had been said that was funny.

She used a little mascara, a little lip-
stick and felt she was a dud in conver-
sations because she had no “line.” She
had been a good student and could talk
well on general subjects. But Hollywood
conversations had a gambit all their own,
which ran to gossip about persons, studio
opportunities, romantic opportunities, any
old opportunities, beds, houses, love and
cars — in about that order. On such sub-
jects she found herself nettled because

she wasn’t in the know, afraid of being
considered gauche. She came home from
parties dissatisfied, impatient with having
not yet lived, and vaguely convinced that
she owed it to herself to do something
about it. And about this time she had her
first “adventure.”

It had its beginning when her mother
was called away and asked a friend of
theirs to act as a companion and chaperon
for Anne. After her mother left, Anne de-
cided that she didn’t like this arrange-
ment. She told the chaperon that she was
going to spend the weekend with a girl
friend in Catalina, and promised to re-
turn Monday morning. She actually did
go to Catalina on Saturday, but she came
back to Hollywood on Sunday instead of
Monday. Instead of going home she got
into her car, which she had left at the
boat dock, and drove off. That evening the
car was parked alongside the lake in Sher-
wood Forest, and Anne spent the night in
the car seat. It was an escapade in every
sense of the word but one — she was alone.

Choked with restlessness, feeling strange
compulsions, she sat frozen through most
of the early hours, sometimes weeping, and
shaken by the fancy that she was re-
hearsing to be a bad girl.

That night, Anne came to comprehend
something about herself that she now
knows to be true and is trying to correct:
Her thinking had mostly just an emotional
basis. And she knew, too, that this would
be a heavy burden for her. “Like carrying
yourself on your own back,” she thought.
But there was nothing she could do about
it then.

“The world to me was like a boy I was
crazy about and going out with,” is the
way she has described her feeling of this
period. “The boy carries himself well, he
is smart, he smokes and drinks and knows
all the latest references, and I haven’t

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any convictions of my own but just try
desperately to keep up with him. I’m not
comfortable as myself, so I try to be some-
body else. Somebody who laughs, has a
gay time, acts as if she knows just what is
going on, and how she is going to fit into
life. But she doesn’t. She doesn’t really!”

The car in which Anne spent that night
was a Cadillac that she had bought from
a Turkish gambler in Hollywood. It was a
black coupe, and she called it both “Ferdi-
nand” and “Ticket to Freedom.” It had not
only a horn, but also a set of bells, which
she’d added. Anne drove to Sherwood
Forest Lake because on a previous visit
she had fallen in love with the wild
ducks there. On her way home the next
morning, teeth chattering, she kept telling
herself, “You have to do something. You
have to be what you are even if you freeze
to death!”

She remembered that once, when she
was thirteen, she had made a movie test
in New York and thought it was terrible.
She had sunk lower and lower into her
seat as it ran on, and the director who
had had charge of it tried vainly to con-
sole her.

“We can compare anything in the world
except the thing about ourselves that
makes us unique,” he had explained.
“That we cannot compare with anything.
You’re having a peek at yourself as others
see you . . . and that is always a shock!”

But this hadn’t helped. She had
squirmed way down into her seat, couldn’t
take her eyes off herself on the screen,
and hated what she saw. “I knew then
that I was going to have a lot of trouble
with myself,” she said.

Before the next year was over, after her
Sherwood Forest episode, Anne, hardly
eighteen, rebelled against her mother’s
authority. She wanted to live alone. Among
girls of her age this was a fairly unusual
thing at the time, but it was certainly a
questionable move to make in Hollywood,
where the abysses were many, and of extra
depth. Yet it came to this: Tired of fight-
ing with Anne, her mother left. But not
without misgivings.

Anne was not on her own the very
moment her mother left. As a matter of
fact, Mrs. Baxter first exacted a promise
that Anne would stay with friends, the
late Nigel Bruce and his wife, Bunnie,
while a maid could be taught to keep a
home for her. Anne lived with the Bruces
for four months, during which time a girl
was hired and trained. But when Anne
rented an apartment in Westwood and
moved in, thrilled at having her own
menage at last, the new maid began de-
veloping “stomach attacks” which eventu-
ally were revealed to be alcoholic binges.

The maid did not wait to be dismissed.
She left of her own accord. But Anne did
not go back to the Bruces. In her ears rang
warnings from her mother. But Anne was
in her own place at last, and she intended
not to lose the independence she had
finally gained.

Not many of Hollywood’s actresses have
an actual love for the fine lines written
for them in their pictures; for the most part
they are not talented in the arts at all,
outside of the art of giving of themselves
to the characters they play. Anne Baxter
is different, in the sense that she has a
fine taste for words — often to the point of
poetry. Speaking of a fine Paris rain, she
once said, “It sprinkles you like a nice fat
laundress doing her ironing.” “Venice,”
she wrote home in a letter, “is so beautiful
it can grow you a new heart if you have
lost your own.” She has talked of Mexico’s
little burros, “tiptoeing through the vil-
lage.”

At eighteen Anne was talking a lot
about boys. Most of the boys she met
were between college and settling-down

age, when World War II further upset
their plans. She recalls, “No one knew
anything, except that it was a good time
to have fun. If you were a girl and didn’t
want to mope at home alone, you went
along.

“There were goodbye parties for boys
going to camp, last-leave parties, hello
parties and first-leave parties. The boys
seemed to feel that they had nothing left
in the world but what they could grab.
They grabbed for drinks, for laughs, for
you. It was a time to get what you wanted
because there might not be any other time.
And for youth, time has always seemed
like that anyway.

“I remember I learned how to drink
then, even though I didn’t like to drink,
and still don’t. They were all fancy drinks,
concoctions with your initials outlined on
top of the liquor in nutmeg or the like. It
was very smart to drink them. It was
very smart to stay out all night, or mostly
all night. It was very smart to brag of
having come home at four in the morning
to sleep an hour, then take a shower and
rush off to the studio.

“It was terribly smart, terribly gay, ex-
cept when it would become suddenly and
terribly shocking. A boy you thought you
loved and with whom you had stolen some
moments of tenderness and magic would
walk off into a matter-of-fact dawn with
a casual, ‘Well, so long,’ leaving you stand-

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ing mortified, maybe laughing ruefully at
yourself, in a ringing emptiness that you
knew to be closer to your real life than all
the wild pretending you had been doing.”

It was about then that Anne Baxter
began wondering whether this was really
what she had wanted. Whether freedom
that could turn out to be abandon was
really freedom. Whether this running
around too much and laughing too much
and crying out “fabulous” at stories she
didn’t even understand, was really what
she wanted. And the answer that came to
her was short. “No,” she told herself, “that
isn’t it, either.”

She told herself more than this. Anne
knew she was afraid of something. She
was afraid that she was developing many
false faces in Hollywood, without ever
having found her own.

“Suppose a man fell in love with one
of these false faces?” she asked herself.
“I’d be playing a dirty trick on him— and
on myself.”

She decided that she wanted very much
to wear her own face, to be herself. And
she knew it for a certainty one morning,
in the home of Alfred Hitchcock, when a
dark-haired man with a strongly mascu-
line cast to his features walked into the
room from the garden. She had never met
him, but she knew his name. His looks
were like a challenge to her, and she ac-
cepted the challenge. He was John Hodiak.
He didn’t give her as much as a smile that
first morning.

The May issue of Photoplay will continue
the story of Anne Baxter — her marriage to
John Hodiak, her disillusionment, her grow-
ing self-understanding. It will be a frank
story, as Anne herself is frank. (See Anne
Baxter in Paramount s “The Ten Command-
ments and “Three Violent People.” )

OPPORTUNITIES

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/Veie Personality of the Month : About

a year and a half ago, before Susan Stras-
berg left for Hollywood to make “Picnic,”
she was given a bon voyage party at the
home of her godparents, Mr. and Mrs.
Herb Moss. As someone who has known
Susie ever since she was just a twinkle
in her father and mother’s eyes, I had
been invited to this gay gathering. Just
as I was leaving, a young girl rushed over
to Paula Strasberg to say goodbye, too.
There was nothing spectacular about her

Rita Hayworth took off from the famed
Georges V Hotel in gay Paris to return
to America with Rebecca and Jasmine

Shortly after Carroll came back from
location in Mississippi, where all of this
Tennessee Williams’ film was shot, we
caught up with each other over lunch.
Despite the fact that her mousy hair was
blonder now (although she was letting it
grow back to its natural shade after
bleaching it almost platinum for this second
movie) and her slim figure had blossomed
out considerably, due to the imminent
arrival of a “baby doll” in the Jack Gar-
fein nursery, I recognized her immediately.
Neither George Stevens nor Gadg Kazan
had tried to transform her into the usual
mould of a Hollywood glamorpuss.

Carroll’s film career runs a striking
parallel to another disciple of the Actors
Studio, Eva Marie Saint. Eva won an
Oscar for her prize performance in a
Kazan-directed film, “On the Waterfront.”
Carroll will be a strong contender in the
Academy Award sweepstakes for her
brilliant characterization of a “Baby Doll,”
also directed by Kazan. Incidentally, nei-
ther film was made in Hollywood. Eva is
married to M-G-M director Jeff Hayden.
Carroll’s husband is Jack Garfein, who
recently completed his first directorial
effort for the screen, “End as a Man.” One
coincidence Carroll won’t share with Eva:
Should Carroll win her Oscar in March,
she’ll accept it in a beautiful new gown,
unlike Eva, who accepted hers in a
maternity dress. But to add one more
final parallel, Eva’s co-star in “On the
Waterfront” was an actor who first ex-
ercised his talent at the Actors Studio —
Marlon Brando. In Carroll’s first Warner
Brothers’ film, “Giant,” she played opposite
another famous Studio alumnus, the late
James Dean.

lots of people were telling each other. How l

amazed they would have been had I intro-
duced them to two American commoners
named Sidney Guillaroff, Ava’s hairdresser
at M-G-M and one of her closest Holly-
wood friends, and Morgan Hudgins, a Met-
ro publicist, who had been on location with
Ava in Africa for “Mogambo.” Grace Kelly
took such a fancy to him, too, that when
she married Prince Rainier, she borrowed
Morgan from Metro as her chief press
liaison at the wedding. Now he was back
with Ava again, handling her publicity on
“The Little Hut” and keeping her company
when Sidney or Walter Chiari wasn’t
available for the purpose.

, - .

Will Walter Chiari, a tall, dark and
handsome Italian, who makes his American
screen debut in “The Little Hut,” be the
answer to her prayer? My guess is no,
and I base it on a statement that Ava
herself made in a recent interview when
she confessed, “I’m bad in only one thing.
I’m jealous. I’m very jealous. I want my
man to love me — just me— that’s all.’.’ For
any wife to be jealous is a dangerous
threat to marriage, but with a Continental
like Chiari, this “only one thing” is the
kiss of death. In Italy, as in most of Europe,
a husband is Lord and Master. His wife
marries him to grace his house, breed his
children, adopt his family, share his reli-
gion and love him, blind to his faults but
aware of all his virtues! A woman who was
raised in Italy can often accept marriage
on such a basis, not only because this is
an accepted marital relationship, but also
because she knows that if she doesn’t, the
chances of her getting a divorce in a
Catholic country are almost nil. Conse-
quently, for a female like. Ava, who
admits her overpoweringly jealous nature,
to marry a charming actor, well known
throughout Italy, would be disastrous —
and I say this because I have met him. He
has the Continental charm and technique
of making a woman feel she’s a woman,
and, like all Italians, he can no more help
flirting than he can help breathing. F.
Hugh Herbert and Mark Robson have
signed him, by the way, to a personal con-
tract and have great plans for his future
in American films.

How will Ava, who admits she doesn’t
want to share her man with anyone,
reconcile herself to sharing his popularity
—especially with the opposite sex? The
answer is, she won’t! And how will Chiari
put up with her accusing rages of jealousy?
The answer is, her won’t. They’ll wind up
destroying each other, just as she and
Frankie did. I only hope that some day,
before it is too late, Ava will find the
happiness she craves and is so desperately
searching for. But she will only find it, if
she chooses a man whose values she shares
and if she doesn’t try to grab happiness all
for herself, but remembers that in mar-
riage there are three lives — yours — your
husband’s— and the life you will share
with each other. The End

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(Please Print)

( Continued from page 57)
heeled boots and a wide-brimmed hat,
he could pass for a stunt rider in a shoot-
’em-up Western. His square-built frame
is solidly packed, his face unremarkable
except when he smiles. Then a warmth
shines through and one ceases to be
concerned with actorish good looks and
becomes content with his ingratiating
friendliness backed by an inquiring mind.

A Long Way From Home

twelve-hour stints, day after day over the
air waves; appearing also in stage plays.
It was at this juncture of his career that
writer-producer Marty Rackin appeared
like a good angel on his horizon.

Coming to Australia with the intention
of making a television series starring the
late Robert Newton, Rackin heard that
good actors could be had in the “down
under” country for a song such as he
could afford to sing. One night while lis-
tening to a radio story called “The In-
former,” he heard a young fellow playing
the part of a Brooklyn hoodlum. His
accent was so perfect that Rackin was
sure this was no Australian, but prob-
ably an American actor temporarily
beached in Sydney. He quickly got in
touch with the performer and found a
fresh-faced youth, an' Australian, whose
bright blue eyes looked at him with the
wistful longing of a country pup in a big
city. “I asked him the usual question:
‘How’d you like to be in pictures?’ ”
Rackin said, “and he reacted exactly as
if I’d offered him a million dollars.

ANSWERS TO CROSSWORD PUZZLE ON PAGE 17

Across

1. Campbell (William)

8. S M ( Sal Mineo)

10. Cha

13. O'Brien

14. God
16. End

18. M L (Mario Lanza)

19. Eyes
22. near
24. mere

26. M O (Maureen O’Hara)

27. ocean

29. in

30. Yul Brynner
32. Anita (Ekberg)

36. Deb ( Debbie Reynolds)

37. Nigel

38. oil

39. Danny (Kaye)

40. Dream

42. MG's

43. A G (Alec Guinness)

44. No

45. E A (Eddie Albert)

46. P D (Paul Douglas)

48. My

49. D D (Doris Day)

50. N R (Nicholas Ray)

51. R E (Richard Egan)

52. Tavern

53. Aga (Khan)

56. Nader (George)

60. S E (Southeast)

61. Kerrs (Deborah, John)

63. Bean (Jack)

64. Silken

67. Ira

68. B G (Betty Grable)

69. Wide

70. Victor (Mature)

71. Fred (MacMurray)

73. Ray (Milland)

74. E T (Elizabeth Taylor)

75. Widmark (Richard)

Down

1. Commandments (The Ten)

2. Able

3. Mr.

4. Pine

5. Be

6. enemy

7. Lee (Peggy)

8. S G (Stewart Granger)

9. Money

11. More

12. A N (Anna Neagle)

15. Dean (James)

17. Dan (Dailey)

20. You

21. sob

23. Ann (Blyth)

25. reigns

28. C R (Cesar Romero)

29. Ireland

31. Edie ( Edythe Marrener)

33. “Niagara”

34. Ten

35. Aly (Khan)

38. orgy

40. Damon (Runyon)

41. Modern

46. Presley (Elvis)

47. Derek (John)

53. A E

54. grit

55. Arrow

57. A B (Anne Bancroft)

58. Debra (Paget)

59. eager

61. knit

62. sari

64. Sir

65. “Ida” (Eddie Cantor’s wife)

66. Eve

71. F M (Fredric March)

72. D K

Having watched young Taylor turn in
a remarkably professional performance,
Rackin was more than ever convinced
that the youth was entitled to his chance
in greener pastures.

Now that Rod’s future seems comfort-
ably established, he is inclined to look
with a touch of nostalgia to the hard,
work-filled scenes of his adolescence.
Reared as the only child of comfortably
well-off parents in Sydney — his father is
a construction engineer and his mother a
successful novelist and short story writer—
Rod started out to be an artist, studying
in the Sydney Technical and Fine Arts
College. “I was a show-off, an arty brat of
a kid,” he said, “and believed myself to
be the possessor of an outstanding talent.
Then I took a flier in amateur theatricals
and got bitten by the bug for which there
seems to be no known cure. When
Laurence Olivier and the Old Vic Com-
pany visited Sydney, I knew for sure that
I wanted to be an actor. It was then that
I began to get rid of that phony attitude
and discovered that there is no substi-
tute for a sincere, honest approach to a
job. Not at first, though. I got work
scrubbing floors at night so I could walk
around daytimes looking like an actor. I
must have been an awful pain in the neck.”

In talking to directors who have worked
with him in pictures, it would seem that

No young man plentifully endowed with
talent and natural charm long escapes
attention, particularly in Hollywood, where
studios are bulging with beautiful girls.
Taylor, in his quiet, unpretentious way,
has attracted quite a few of them, but he
insists with his wide grin that the ones he
goes out with have nothing more serious
on their minds than a good movie and
maybe a chocolate malted afterward.
Nicola Michaels, a Metro-Goldwyn-Mayer
starlet whom he squires about quite often,
states with conviction that Rod is one of
the “most comfortable” boys to go out
with she has ever met. A bouncy girl
with a cute mouth and a bridge of
freckles across her small nose, she shakes
her head positively at any suggestion that
their friendship has the slightest implica-
tion of seriousness. “We have fun to-
gether,” she said. “Rod tries to think of
things a girl would like to do. He doesn’t
need any prompting. Often we go out to
his house and listen to his records and
the waves thundering just outside the
big front window. Sometimes Jeff whips
up something — he’s awfully good at things
you just pop into the oven — or Bob will
cook a chicken. And maybe Rod will get
to Work on that famous Australian dish of
his.”

She paused a moment, then said with a
wryly humorous smile: “One comment
I’ve heard by others is that no girl has to
wear a break-away jacket when she goes
out with Rod.”

Now, with some first-rate pictures be-
hind him, and poised on the brink of fur-
ther successes, Rod Taylor is earnestly
and happily on his way. Whatever fortune,
a notoriously fickle dame, has in store
for him, no one can tell, least of all Rod.
One thing may be said with certainty:
He’ll keep on giving his career the old
college try, like the good Aussie he is.

The End

DON'T MISS: Rod Taylor in Warner Brothers'
"Giant" and M-G-M's "Raintree County."

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Half Saint — Half Siren

(Continued from page 50)
Consoling her was her mother Maggie, a
brisk and loving buffer in the two different
worlds of Debra, when the pieces of those
worlds need picking up and putting back
together again. . . .

The role she had lost was replaced by
another one, an even better one, not long
afterwards, and Debra Paget was happy
again. Yet tears are no stranger to this
shy and beautiful young star. Nor is in-
nocence. On the other hand, neither is sex
appeal. Debra has a figure that is breath-
taking. In a way, that whistle-bait figure
perjures the pure, undisturbed beauty of
her face — undisturbed, that is, until the
music starts or the cameras turn. Then
the veils drop and Debra Paget comes
ahve with every instinct as ancient as
Eve’s, in a transformation which is as
puzzling to the observer as it is complete.

At twenty-three Debra is the most in-
triguing paradox in motion pictures today.
She lives in amazing splendor in the magic
world of her own creation, a world she
has dreamed about since she was five.
Whether because of disillusionment with
the Hollywood she grew up in or for some
other, secret reason of her own, Debra
long ago decided to restore in all its old-
time glamour and glitter a movie era of
yesteryear. Singlehandedly, if need be,
she has undertaken to bring back the ex-
citement of the “movie queen” — the fabu-
lous female who walked the streets of
Movietown with a tiger 'on a leash, or took
a bath in bubbling champagne.

and a statue of Kuan Yin, the Chinese
goddess of fertility.

Debra Paget is the girl who never dates.
Why? What was the story, where did all
the pieces fit in the life of a young actress
Hollywood producers have so enthusias-
tically acclaimed?

But Debra’s own story is as exciting as
any movie script. It has all the drama
and pathos and conflict that can happen
in the life of a girl who is half siren and
half saint.

Leveling amazingly blue eyes on you,
the girl directors call “one of the sexiest
in Hollywood” says, “I believe there’s a
job that each of us is meant to do. And I
believe we have a duty to ourselves to
do it to the best of our ability. As far as
I’m concerned, I think I was put on this
earth to act. That’s what I love and it’s
my life. Acting, singing, dancing — this is
what I can do. How good it is, I don’t
know. I try to do my best. But through
work I find my happiness. . .

In the spacious hotel room in Mexico
City the girl who is so dedicated to
acting went on, “I played my first movie
role when I was only fourteen. That’s
pretty young to be suddenly thrust into
the motion picture business. There’s some-
thing about a big studio that’s so over-
powering, and I’m naturally a shy person
anyway. Those first years, if somebody
asked me a question I would just say
'Yes’ or ‘No.’ Mother would break the ice
for me. She’d get people laughing and
make the atmosphere friendlier and I
would relax a little.

“Shyness is something I’ve had to grow
out of, and I’ve really had to work to
change it.”

Debra however, is still slow to trust
people. “I have to know somebody a long
while. In this business you learn never to
trust too much. I’ve been very lucky and
I haven’t been hurt badly.

“But perhaps, it’s because my mother’s
such a great judge of people.”

Theirs is a very close relationship. Debra
does the acting, and Maggie spares her
those things which by temperament or
desire Debra feels she isn’t qualified to
do.

“You need somebody you can believe —
somebody you know will tell you the
truth,” says Debra, who always wants her
mother close at hand wherever she works.

Debra’s first experience with this, how-
ever flattering, was heartbreaking. It was
her first big TV show “and they had to go
and put a ballet skirt on me.”

The big number was called “The Jag-
uar,” and, says Debra, “We had a terrific
routine where I jumped over this fancy

IT hen Maxine Arnold flew back from Mexico City via Aeronaves de Mexico after
interviewing Debra Paget for Photoplay, Debra look her to the airport limousine

Debra's buffer and guide, her mother
Maggie, made a hit with Elvis Pres-
ley during work on “Love Me Tender ”

sports car. I was wearing a leotard cut
high in the neck and a split skirt that was
supposed to come off when I leaped into
the air.”

After the dress rehearsal the censor
informed her, “You can’t take your skirt
off in the number.”

“But I have to,” Debra protested. “In
order to jump over the car.”

“They shot my routine in a dark corner
of the stage, so dark, in fact, that a friend
who watched the show at home called up
to ask, ‘When did Debra go on?’ ”

Debra’s personal life has caused the
usual speculation among columnists.

“I’ll put Debra on. You talk to her,”
said Maggie.

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102

“She begged for this business before
she could even talk,” her mother says.
“Debra is a real ham. She cannot live
without acting, and that’s the full defi-
nition of the word!”

When her mother and her older sister,
Teala Loring, went out on the road with
various shows, Debralee lived for the mo-
ment when they would come home, bring-
ing some of the magic back with them.
“My sister, Lisa, and I would get into their
wardrobe trunks and dress ourselves up
in the oddest get-ups.”

When Teala Loring was signed to a
Paramount contract, Hollywood was the
Griffins’ home base. And little Debralee
was tired of just watching the show. She
wanted to be part of it.

And she added, “Learning to act is not
like taking a piano lesson. It is work, work,
work.”

Yes, Debra said, she knew. And she
would work. For a solemn-eyed little
girl this was like taking a vow.

Margaret Gibson knew Ivan Kahn, then
talent head at 20th Century-Fox, and he
had once told her: “When your children

are ready, bring them out to me.” Debra
and her brother tested together in a scene
from “Ah, Wilderness,” and Kahn agreed
they were both very good. They had tal-
ent, no doubt about that. But the studio
was cutting down on its stock players and
could only hire one of the children. Their
mother was to decide which one.

At fourteen Debra Paget, who’d never
had a date in her life, was playing love
scenes with Richard Conte and going to
school in between.

From the beginning, Debra defied the
customary build-up for a Hollywood star-
let. “I will not date for publicity,” she

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“I don’t feel it’s necessary to ‘go out’
with a man to know him, or to find out
whether you’re in love with him.

“And we entertain people at home all
the time. We have big parties and we
have small groups of friends in too.”

When asked whether she shies away
from a serious romance as a result of be-

ing disillusioned or hurt, she says, quietly,
“No, I haven’t been hurt. And I’m not
afraid of romance. And I’m not disillus-
ioned. This is just the way I feel.”

“She’ll find the right man,” her mother
says, “and when she does — and I don’t
think it will be too far off — there will be
less room for her career, that’s all.

But behind the fabulous wardrobe — the
sequins and the tulle and the mink and all
the little foxes — is her desire to keep
glamour alive.